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 Samoa and from Shanghai.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Glasgow.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the guitar sounds with much patience.
I was there when Robert Palmer 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 Public Image Ltd. to the jazz 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 Quadrant. All the underground hits.
All Camberwell Now tracks. I heard you have a vinyl of every Rosa Yemen 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 '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Silicon Teens record.
I hear that you and your band have sold your theremin and bought an organ.
I hear that you and your band have sold your organ and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moleskins,
Sly & The Family Stone,
Girls At Our Best!,
48th St. Collective,
Glambeats Corp.,
Urselle,
Marc Romboy vs. Booka Shade,
Outsiders,
Marc Almond,
Al Stewart,
Bluetip,
Bob Dylan,
Mandrill,
The Gun Club,
Lou Reed & Metallica,
Sonic Youth,
Subhumans,
The Sisters of Mercy,
Colin Newman,
Vaughan Mason & Crew,
Sister Nancy,
Lou Reed,
Suicide,
Stetsasonic,
Ohio Players,
Sound Behaviour,
Spandau Ballet,
Curtis Mayfield,
Can,
Sam Rivers,
Morten Harket,
Piero Umiliani,
Blake Baxter,
Main Source,
The Toasters,
Ituana,
Fugazi,
Lizzy Mercier Descloux,
The Standells,
The Fuzztones,
Y Pants,
Robert Wyatt,
La Düsseldorf,
Cymande,
Public Enemy,
The Smiths,
Harry Pussy,
Bobbi Humphrey,
Half Japanese,
Andrew Ashong & Theo Parrish,
The Jesus and Mary Chain,
Lakeside,
The Names,
Kevin Saunderson,
The Neon Judgement,
Quadrant,
Joy Division,
Marine Girls,
The Residents,
Howard Jones, Howard Jones, Howard Jones, Howard Jones.
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.