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 Guinea-Bissau and from Columbus.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Johannesburg.
I'm losing my edge to the art-school Paris 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 sitar sounds with much patience.
I was there when Lou Reed 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 Letta Mbulu 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 Hot Snakes. All the underground hits.
All Gerry Rafferty tracks. I heard you have a vinyl of every The Red Krayola record on German import.
I heard that you have a white label of every seminal rock 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 güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Sad Lovers and Giants record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marmalade,
New Age Steppers,
Dead Boys,
London Community Gospel Choir,
Nils Olav,
Lower 48,
Tubeway Army,
Laurel Aitken,
Rhythm & Sound,
The Cosmic Jokers,
Bizarre Inc.,
Freddie Wadling,
Lucky Dragons,
R.M.O.,
Super Lover Cee & Casanova Rud,
Slick Rick,
Magazine,
Lalo Schifrin,
Hashim,
Altered Images,
Sarah Menescal,
Eric Copeland,
Radio Birdman,
Bush Tetras,
Public Enemy,
Vaughan Mason & Crew,
Crispy Ambulance,
Grauzone,
The American Breed,
Whodini,
Don Cherry,
Pulsallama,
Ornette Coleman,
Mr. Review,
The Birthday Party,
Ajijia Myrayebe,
Public Image Ltd.,
Scott Walker,
Agitation Free,
The Modern Lovers,
Chris & Cosey,
Livin' Joy,
Teenage Jesus and the Jerks,
Delon & Dalcan,
A Flock of Seagulls,
The Sisters of Mercy,
Sex Pistols,
Ludus,
Scott Walker + Sunn O))),
Sexual Harrassment,
The Doors,
Bobby Hutcherson,
Letta Mbulu,
Gabor Szabo,
Fat Boys,
Jeff Mills,
Arthur Verocai,
Lindisfarne,
James Chance & The Contortions,
The Gun Club,
Barclay James Harvest,
H. Thieme,
Barbara Tucker, Barbara Tucker, Barbara Tucker, Barbara Tucker.
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.