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 Cameroon and from Madrid.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1962 to 1978.
I'm losing my edge.
To all the kids in London and Edmonton.
I'm losing my edge to the art-school Milan 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the linndrum 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 Eric Copeland to the electroclash kids.
I played it at CBGB's.
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 Angels of Light & Akron/Family. All the underground hits.
All Roxy Music tracks. I heard you have a vinyl of every FM Einheit record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Black Moon record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Martian,
Monolake,
Drexciya,
Masters at Work,
Marc Almond,
Kas Product,
Warren Ellis,
Gil Scott Heron,
Tropical Tobacco,
Skriet,
Mary Jane Girls,
Little Man,
B.T. Express,
The Tremeloes,
Patti Smith,
John Coltrane,
Fela Kuti,
Eden Ahbez,
Lungfish,
Flash Fearless,
Panda Bear,
Quando Quango,
Bad Manners,
Hasil Adkins,
Ituana,
the Soft Cell,
Y Pants,
Arab on Radar,
Danielle Patucci,
The Peanut Butter Conspiracy,
Barrington Levy,
Chris & Cosey,
Man Parrish,
The Slackers,
Juan Atkins,
Blossom Toes,
Hardrive,
Amazonics,
Andrew Ashong & Theo Parrish,
The Associates,
Blake Baxter,
London Community Gospel Choir,
The Searchers,
Slick Rick,
The Motions,
Yaz,
Marmalade,
Country Teasers,
The Names,
Television Personalities,
Big Daddy Kane,
The Cowsills,
The Five Americans,
New York Dolls,
Niagra,
Sun Ra,
Jacques Brel,
Negative Approach,
Robert Wyatt,
Au Pairs,
Charles Mingus,
Scratch Acid,
The Remains,
The Gun Club, The Gun Club, The Gun Club, The Gun Club.
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.