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 India and from Accra.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Calgary and Spokane.
I'm losing my edge to the art-school Taipei 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 güiro 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 Moss Icon to the electroclash 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 Mark Hollis. All the underground hits.
All Magma tracks. I heard you have a vinyl of every 48th St. Collective record on German import.
I heard that you have a white label of every seminal funk 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 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 Nation of Ulysses record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swell Maps,
Ten City,
The Peanut Butter Conspiracy,
James White and The Blacks,
Matthew Halsall,
Arthur Verocai,
Peter Gordon & Love of Life Orchestra,
The Seeds,
Simply Red,
Blossom Toes,
Zero Boys,
Barbara Tucker,
The Evens,
London Community Gospel Choir,
Laurel Aitken,
PIL,
48th St. Collective,
Freddie Wadling,
Sexual Harrassment,
Smog,
Monks,
The Doobie Brothers,
Amon Düül,
Marc Romboy vs. Booka Shade,
Oppenheimer Analysis,
It's A Beautiful Day,
Aswad,
The Human League,
Scion,
Darondo,
Sound Behaviour,
Art Ensemble Of Chicago,
Flash Fearless,
Beasts of Bourbon,
Larry & the Blue Notes,
The Shadows of Knight,
Shuggie Otis,
David McCallum,
Unrelated Segments,
Justin Hinds & The Dominoes,
Morten Harket,
Babytalk,
Wolf Eyes,
The Velvet Underground,
Scientists,
Cymande,
Gang Starr,
Echo & the Bunnymen,
Section 25,
Crash Course in Science,
The Detroit Cobras,
a-ha,
Outsiders,
Prince Buster,
Black Flag,
UT,
Nick Fraelich,
Juan Atkins,
Pulsallama,
These Immortal Souls,
Davy DMX,
Funky Four + One, Funky Four + One, Funky Four + One, Funky Four + One.
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.