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 Kosovo and from Jakarta.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Seoul and Lyon.
I'm losing my edge to the art-school Toronto 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 1978 at the first Visage practice in a loft in London.
I was working on the oboe 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 Magma to the grime kids.
I played it at the Astoria.
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 Henry Cow. All the underground hits.
All Fat Boys tracks. I heard you have a vinyl of every Rhythm & Sound 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 '70s.
I hear you're buying a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Sarah Menescal record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Hutcherson,
Matthew Halsall,
Marc Almond,
the Soft Cell,
Charles Mingus,
Cecil Taylor,
Stetsasonic,
Liaisons Dangereuses,
Ralphi Rosario,
Avey Tare,
Yaz,
Fifty Foot Hose,
Agitation Free,
Bang On A Can,
Shuggie Otis,
One Last Wish,
Little Man,
Amon Düül,
Index,
Grandmaster Flash,
The Peanut Butter Conspiracy,
Mr. Review,
the Slits,
Kaleidoscope,
The Index,
The Moody Blues,
The Slackers,
Minny Pops,
Josef K,
The Pop Group,
Lebanon Hanover,
Japan,
Clear Light,
The Saints,
Louis and Bebe Barron,
Judy Mowatt,
Bob Dylan,
Sam Rivers,
The Music Machine,
Gil Scott-Heron & Brian Jackson,
New Order,
Trumans Water,
Scion,
Maleditus Sound,
Simply Red,
Joy Division,
Richard Hell and the Voidoids,
The Litter,
Tomorrow,
Boredoms,
Subhumans,
Wally Richardson,
Brothers Johnson,
John Foxx,
Red Lorry Yellow Lorry,
The Neon Judgement,
Johnny Clarke,
Orchestral Manoeuvres in the Dark,
The Move,
Leonard Cohen,
Cabaret Voltaire,
Moebius,
Tommy Roe,
Siglo XX,
the Germs, the Germs, the Germs, the Germs.
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.