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 Colombia and from Manchester.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Seoul and Woodstock.
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 arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 The Dirtbombs to the funk kids.
I played it at the Hacienda.
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 Eyeless In Gaza. All the underground hits.
All Guru Guru tracks. I heard you have a vinyl of every Au Pairs record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Kings Of Tomorrow 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?
The Blues Magoos,
Robert Hood,
Sugar Minott,
Drive Like Jehu,
Isaac Hayes,
Lou Reed & John Cale,
Lizzy Mercier Descloux,
Stetsasonic,
Robert Görl,
Dawn Penn,
The Busters,
David McCallum,
Pharoah Sanders,
Jeff Mills,
Joensuu 1685,
Bob Dylan,
Chris & Cosey,
Arcadia,
Gian Franco Pienzio,
Joe Finger,
Black Sheep,
Erykah Badu,
Deakin,
Soul Sonic Force,
Major Organ And The Adding Machine,
The Gun Club,
The Kinks,
Dave Gahan,
Peter and Kerry,
Max Romeo,
The Angels of Light,
Circle Jerks,
MC5,
Sight & Sound,
Blake Baxter,
Japan,
Lee Hazlewood,
Todd Rundgren,
Swell Maps,
The Divine Comedy,
Icehouse,
David Bowie,
Terry Callier,
Dead Boys,
Harmonia,
Stockholm Monsters,
The West Coast Pop Art Experimental Band,
June Days,
Organ,
Donald Byrd,
Röyhkä ja Rättö ja Lehtisalo,
Marshall Jefferson,
The Music Machine,
Junior Murvin,
Hoover,
Brass Construction,
Nirvana,
E-Dancer,
Gil Scott-Heron and Jamie xx,
Kerrie Biddell, Kerrie Biddell, Kerrie Biddell, Kerrie Biddell.
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.