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 Bulgaria and from Milan.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Houston and Copenhagen.
I'm losing my edge to the art-school Woodstock 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the harpsichord sounds with much patience.
I was there when Captain Beefheart 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 Lee Hazlewood to the rock 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 Pantaleimon. All the underground hits.
All Bobby Sherman tracks. I heard you have a vinyl of every Yellowson record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Television record.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magma,
Lafayette Afro Rock Band,
Man Eating Sloth,
Soft Machine,
X-Ray Spex,
Rotary Connection,
The Divine Comedy,
Scan 7,
Flamin' Groovies,
Severed Heads,
Y Pants,
Bill Near,
Depeche Mode,
Bauhaus,
Barry Ungar,
Jimmy McGriff,
Icehouse,
Whodini,
Grauzone,
Gil Scott-Heron & Brian Jackson,
Notorious Big And Bone Thugs,
Matthew Bourne,
Parry Music,
Panda Bear,
Rhythm & Sound,
Lucky Dragons,
Banda Bassotti,
Aloha Tigers,
E-Dancer,
the Human League,
The Human League,
A Flock of Seagulls,
The Modern Lovers,
James White and The Blacks,
Soul Sonic Force,
Shoche,
Robert Wyatt,
Von Mondo,
Kings Of Tomorrow,
The Peanut Butter Conspiracy,
Shuggie Otis,
Eyeless In Gaza,
the Swans,
Symarip,
The Offenders,
Boz Scaggs,
Gang Gang Dance,
The Five Americans,
Tommy Roe,
Sister Nancy,
Bizarre Inc.,
Peter Gordon & Love of Life Orchestra,
The Cure,
June of 44,
Rod Modell,
Alphaville,
Mr. Review,
Sonic Youth,
Ludus,
Barrington Levy, Barrington Levy, Barrington Levy, Barrington Levy.
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.