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 Indonesia and from Tokyo.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Edmonton and Stockholm.
I'm losing my edge to the art-school Accra 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the güiro sounds with much patience.
I was there when David Bowie 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 Cluster to the jazz kids.
I played it at Cafe Wha.
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 Avey Tare & Kría Brekkan. All the underground hits.
All The Names tracks. I heard you have a vinyl of every Tres Demented 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 '50s cut and another box set from the '70s.
I hear you're buying a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Bush Tetras record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Smooth,
Peter Gordon & Love of Life Orchestra,
Colin Newman,
Darondo,
Trumans Water,
Stereo Dub,
Suicide,
Gary Puckett & The Union Gap,
This Heat,
The Standells,
Radio Birdman,
Whodini,
Bootsy Collins,
UT,
Shoche,
Banda Bassotti,
The Slackers,
Piero Umiliani,
Interpol,
Vladislav Delay,
Max Romeo,
Deakin,
La Düsseldorf,
The Move,
The Toasters,
Section 25,
The West Coast Pop Art Experimental Band,
Siouxsie and the Banshees,
OOIOO,
Magma,
Sonny Sharrock,
Thee Headcoats,
Pulsallama,
The Smiths,
Joy Division,
The Pop Group,
Marc Almond,
Jesper Dahlbäck,
Tom Boy,
James Chance & The Contortions,
The Happenings,
Lizzy Mercier Descloux,
X-Ray Spex,
Avey Tare's Slasher Flicks,
Technova,
Ludus,
Dead Boys,
The Martian,
Quando Quango,
The Tremeloes,
Average White Band,
Bill Near,
Super Lover Cee & Casanova Rud,
Parry Music,
Fad Gadget,
Clear Light,
The Monochrome Set,
Joyce Sims,
Pagans,
Ultravox,
U.S. Maple,
Yaz,
Boz Scaggs,
Faust, Faust, Faust, Faust.
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.