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 Ireland and from Lagos.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1970.
I'm losing my edge.
To all the kids in Lagos and Salvador.
I'm losing my edge to the art-school Jakarta 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 synthesizer 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 Urselle to the funk 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 Scott Walker. All the underground hits.
All Blake Baxter tracks. I heard you have a vinyl of every CMW record on German import.
I heard that you have a white label of every seminal punk 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 theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
Monks,
The Moody Blues,
La Düsseldorf,
Ohio Players,
Boz Scaggs,
Funkadelic,
Shuggie Otis,
KRS-One,
Bobbi Humphrey,
Liaisons Dangereuses,
Avey Tare's Slasher Flicks,
Heavy D & The Boyz,
Sexual Harrassment,
James White and The Blacks,
Roy Ayers,
Siglo XX,
Iggy Pop,
Patti Smith,
Minny Pops,
The Standells,
The Peanut Butter Conspiracy,
Derrick May,
The Angels of Light,
Ultramagnetic MC's,
In Retrospect,
Carl Craig,
John Cale,
Sugar Minott,
Mo-Dettes,
Sixth Finger,
Pierre Henry,
Sonic Youth,
The Kinks,
Neil Young,
Parry Music,
Animal Collective,
Ronan,
Cheater Slicks,
Donald Byrd,
Thee Headcoats,
De La Soul & Jungle Brothers,
Warsaw,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Gong,
Skriet,
Minutemen,
It's A Beautiful Day,
Blossom Toes,
Matthew Halsall,
Lonnie Liston Smith,
Morten Harket,
Clear Light,
The Velvet Underground,
Jandek,
Joey Negro,
The Victims,
The Fortunes,
the Slits,
Neil Young & Crazy Horse,
Ken Boothe,
Jacob Miller,
Moss Icon, Moss Icon, Moss Icon, Moss Icon.
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.