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 Uzbekistan and from Tehran.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Lille and Johannesburg.
I'm losing my edge to the art-school Cairo 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the oboe 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 The Searchers to the electroclash kids.
I played it at the Spitz.
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 Camberwell Now. All the underground hits.
All Faust tracks. I heard you have a vinyl of every Dorothy Ashby record on German import.
I heard that you have a white label of every seminal crunk 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 theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Eden Ahbez record.
I hear that you and your band have sold your 808 and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Vogues,
Ronnie Foster,
Joe Finger,
Supertramp,
Stiv Bators,
Jimmy McGriff,
Franke,
The Wake,
Davy DMX,
Masters at Work,
Lucky Dragons,
The Index,
The Kinks,
Reuben Wilson,
Kurtis Blow,
The Doors,
The Monks,
China Crisis,
The Litter,
Ajijia Myrayebe,
Lou Reed & John Cale,
Lalo Schifrin,
The Blues Magoos,
Black Pus,
Ornette Coleman,
Joensuu 1685,
Main Source,
Matthew Halsall,
Gichy Dan,
Hardrive,
Y Pants,
Pierre Henry,
Sarah Menescal,
Swans,
Index,
Tommy Roe,
Barry Ungar,
The J.B.'s,
Donald Byrd,
The Doobie Brothers,
Can,
Cheater Slicks,
Justin Hinds & The Dominoes,
Outsiders,
The American Breed,
Fear,
The Gories,
Sound Behaviour,
One Last Wish,
Gang Green,
The Young Rascals,
Brass Construction,
The Cramps,
The Misunderstood,
Blossom Toes,
Eric Copeland,
The Standells,
Boredoms,
Magma,
Simply Red,
Clear Light,
Icehouse,
Motorama, Motorama, Motorama, Motorama.
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.