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 Mozambique and from Tehran.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Stockholm and Paris.
I'm losing my edge to the art-school Salvador 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 rhodes sounds with much patience.
I was there when Tom Verlaine 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 Barclay James Harvest to the funk kids.
I played it at the Roxy.
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 The Young Rascals. All the underground hits.
All The J.B.'s tracks. I heard you have a vinyl of every The Count Five 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 '90s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Agitation Free record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
China Crisis,
Ossler,
Spandau Ballet,
Lakeside,
June Days,
John Foxx,
Steve Hackett,
Bob Dylan,
the Slits,
The J.B.'s,
Minnie Riperton,
Black Moon,
Rahsaan Roland Kirk,
Alison Limerick,
Joey Negro,
The Beau Brummels,
Black Flag,
Yaz,
Sun City Girls,
Yusef Lateef,
Jerry Gold Smith,
the Soft Cell,
Japan,
Cluster,
Tom Boy,
Cymande,
Aaron Thompson,
the Sonics,
Anthony Braxton,
London Community Gospel Choir,
The Saints,
Drexciya,
Bobby Sherman,
Monolake,
Liliput,
K-Klass,
Piero Umiliani,
B.T. Express,
Grandmaster Flash and the Furious Five,
Main Source,
Röyhkä ja Rättö ja Lehtisalo,
Zero Boys,
Skarface,
Eurythmics,
Public Enemy,
Interpol,
the Fania All-Stars,
A Certain Ratio,
Eric Dolphy,
Ituana,
The Slits,
Iggy Pop,
Cecil Taylor,
Harpers Bizarre,
Intrusion,
Sad Lovers and Giants,
The Seeds,
EPMD,
Lindisfarne,
CMW,
Justin Hinds & The Dominoes,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.