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 Congo and from Houston.
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 1979.
I'm losing my edge.
To all the kids in Stockholm and Mexico City.
I'm losing my edge to the art-school Copenhagen 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 1976 at the first Wire practice in a loft in Watford.
I was working on the marimba sounds with much patience.
I was there when Michael McDonald 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 Ken Boothe to the disco 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 Fear. All the underground hits.
All Gian Franco Pienzio tracks. I heard you have a vinyl of every The Monochrome Set 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 '60s cut and another box set from the '70s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Grass Roots record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vladislav Delay,
Brick,
Jacob Miller,
Lindisfarne,
Kas Product,
Inner City,
Drive Like Jehu,
Black Bananas,
Fad Gadget,
Pylon,
Alphaville,
Lucky Dragons,
Kango’s Stein Massive,
New Age Steppers,
DNA,
X-Ray Spex,
DJ Sneak,
World's Most,
The Seeds,
Lalo Schifrin,
Gil Scott Heron,
Beasts of Bourbon,
Banda Bassotti,
Negative Approach,
Girls At Our Best!,
Kaleidoscope,
Avey Tare & Kría Brekkan,
Crispy Ambulance,
Sarah Menescal,
The Chocolate Watch Band,
Sexual Harrassment,
AZ,
Steve Hackett,
Mandrill,
Carl Craig,
The Red Krayola,
Pere Ubu,
Jerry's Kids,
the Sonics,
Hashim,
The West Coast Pop Art Experimental Band,
Kings Of Tomorrow,
Jesper Dahlback,
Television,
Radiopuhelimet,
Procol Harum,
Oblivians,
Altered Images,
Kauko Röyhkä ja Narttu,
Harry Pussy,
The Doobie Brothers,
Bauhaus,
Rhythim Is Rhythim,
ABC,
Wolf Eyes,
Moby Grape,
Amon Düül II,
Hasil Adkins,
Lebanon Hanover,
The Sisters of Mercy,
Suicide,
Richard Hell and the Voidoids,
Sister Nancy,
Bang On A Can,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.