Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Slovakia and from Salvador.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1960 to 1978.
I'm losing my edge.
To all the kids in Columbus and Manila.
I'm losing my edge to the art-school Cairo kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the theremin sounds with much patience.
I was there when Robert Palmer started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Section 25 to the disco kids.
I played it at the Troubador.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by LL Cool J. All the underground hits.
All Ken Boothe tracks. I heard you have a vinyl of every Fort Wilson Riot record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Kauko Röyhkä ja Narttu record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gabor Szabo,
Schoolly D,
Swans,
Johnny Clarke,
Livin' Joy,
Red Lorry Yellow Lorry,
Wally Richardson,
Oppenheimer Analysis,
L. Decosne,
Gil Scott Heron,
The Kinks,
Marc Romboy vs. Booka Shade,
Joe Smooth,
Peter Gordon & Love of Life Orchestra,
Lou Reed & Metallica,
John Holt,
The Divine Comedy,
Bill Near,
Popol Vuh,
Black Pus,
Thee Headcoats,
The Modern Lovers,
The Index,
The Litter,
Basic Channel,
Dual Sessions,
Severed Heads,
Buzzcocks,
Newcleus,
Throbbing Gristle,
Delon & Dalcan,
Magazine,
The Mojo Men,
Chrome,
The Dirtbombs,
Gil Scott-Heron and Jamie xx,
Bobby Byrd,
T.S.O.L.,
Ken Boothe,
Crooked Eye,
Circle Jerks,
Marc Almond,
ABBA,
Aural Exciters,
Metal Thangz,
Wire,
Bobby Sherman,
Marine Girls,
The Flesh Eaters,
Davy DMX,
Country Joe & The Fish,
Jacob Miller,
The Cramps,
Larry & the Blue Notes,
Sad Lovers and Giants,
Sound Behaviour,
Avey Tare & Kría Brekkan,
the Swans,
Barry Ungar,
Stiv Bators,
Panda Bear,
Wolf Eyes,
OOIOO, OOIOO, OOIOO, OOIOO.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.