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 Hungary and from Halifax.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1979.
I'm losing my edge.
To all the kids in Stockholm and Lagos.
I'm losing my edge to the art-school Mexico City 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 arpeggiator 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 Lizzy Mercier Descloux to the grunge 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 Erykah Badu. All the underground hits.
All Derrick May tracks. I heard you have a vinyl of every Aural Exciters 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 '90s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Ronnie Foster record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Cale,
Cybotron,
Underground Resistance,
8 Eyed Spy,
Gong,
Johnny Clarke,
Groovy Waters,
Mandrill,
Angels of Light & Akron/Family,
Black Flag,
Sun Ra,
Y Pants,
Avey Tare's Slasher Flicks,
Das Ding,
Lyres,
Zero Boys,
Blake Baxter,
Unrelated Segments,
Dawn Penn,
Bauhaus,
The Index,
Soul II Soul,
Gang Green,
Desert Stars,
Nation of Ulysses,
Howard Jones,
Curtis Mayfield,
Throbbing Gristle,
Thee Headcoats,
Masters at Work,
The Barracudas,
Super Lover Cee & Casanova Rud,
Severed Heads,
Peter & Gordon,
Byron Stingily,
Whodini,
Art Ensemble Of Chicago,
Siglo XX,
Arab on Radar,
Eric Copeland,
AZ,
Franke,
Bad Manners,
Ohio Players,
Negative Approach,
Red Lorry Yellow Lorry,
The New Christs,
The Grass Roots,
Ken Boothe,
Camberwell Now,
Connie Case,
Deakin,
Röyhkä ja Rättö ja Lehtisalo,
James Chance & The Contortions,
Lower 48,
Moebius,
The Trojans,
Nik Kershaw,
Simply Red,
John Lydon,
the Soft Cell,
Boredoms, Boredoms, Boredoms, Boredoms.
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.