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 New Zealand and from Lyon.
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 1975.
I'm losing my edge.
To all the kids in Woodstock and Seoul.
I'm losing my edge to the art-school Philadelphia 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 Wire practice in a loft in Watford.
I was working on the theremin 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 Boz Scaggs to the punk kids.
I played it at the Astoria.
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 MDC. All the underground hits.
All Peter Gordon & Love of Life Orchestra tracks. I heard you have a vinyl of every Gang Green 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 '50s cut and another box set from the '80s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Popol Vuh record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mad Mike,
The Chocolate Watch Band,
The Slits,
Young Marble Giants,
June of 44,
Barclay James Harvest,
Freddie Wadling,
The Leaves,
Second Layer,
Vladislav Delay,
Bronski Beat,
Flipper,
Electric Prunes,
Talk Talk,
Lonnie Liston Smith,
Yellowson,
Minor Threat,
Shoche,
The Count Five,
Lalann,
Rhythm & Sound,
Aloha Tigers,
La Düsseldorf,
Sixth Finger,
Scientists,
Suicide,
Kings Of Tomorrow,
Camron Feat. Memphis Bleek And Beenie Seigel,
Lafayette Afro Rock Band,
Dawn Penn,
Archie Shepp,
Michelle Simonal,
Lindisfarne,
The Human League,
Spoonie Gee,
Cameo,
Kas Product,
Organ,
The Alarm Clocks,
Eve St. Jones,
Masters at Work,
Von Mondo,
Hardrive,
Ken Boothe,
Unwound,
The Sonics,
Juan Atkins,
Gian Franco Pienzio,
Porter Ricks,
Basic Channel,
James White and The Blacks,
X-Ray Spex,
Au Pairs,
Pylon,
Rotary Connection,
Camouflage,
Whodini,
In Retrospect,
Gil Scott-Heron & Brian Jackson,
Nas,
Kool G Rap & DJ Polo,
The West Coast Pop Art Experimental Band,
The Skatalites, The Skatalites, The Skatalites, The Skatalites.
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.