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 Monaco and from Beijing.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Johannesburg.
I'm losing my edge to the art-school Portland 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 linndrum sounds with much patience.
I was there when Tom Verlaine 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 Minnie Riperton to the disco kids.
I played it at the Crocodile.
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 Motorama. All the underground hits.
All Nils Olav tracks. I heard you have a vinyl of every Minnie Riperton record on German import.
I heard that you have a white label of every seminal grunge 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 a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Robert Wyatt record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare & Kría Brekkan,
Hashim,
Richard Hell and the Voidoids,
David Bowie,
The Cowsills,
Bronski Beat,
Skaos,
The Remains,
The Vogues,
Magazine,
Cal Tjader,
U.S. Maple,
Pagans,
Eli Mardock,
Aaron Thompson,
The Cosmic Jokers,
The Neon Judgement,
Terry Callier,
Lyres,
Quantec,
Ludus,
Mark Hollis,
The Leaves,
Lonnie Liston Smith,
Hardrive,
Gang Starr,
Todd Rundgren,
Nick Fraelich,
Can,
Franke,
Cabaret Voltaire,
Unrelated Segments,
Television,
Lee Hazlewood,
Con Funk Shun,
Janne Schatter,
Rowland S Howard / Lydia Lunch,
Moby Grape,
Fad Gadget,
Hot Snakes,
Spoonie Gee,
Rufus Thomas,
Camberwell Now,
Unwound,
Red Lorry Yellow Lorry,
Agitation Free,
Joe Smooth,
Marcia Griffiths,
Harry Pussy,
Fear,
Jimmy McGriff,
Gregory Isaacs,
Siouxsie and the Banshees,
Beasts of Bourbon,
The Mummies,
Joey Negro,
Dr. Dre and Snoop Doggy Dog,
World's Most,
Second Layer,
Public Enemy,
Agent Orange,
Ponytail, Ponytail, Ponytail, Ponytail.
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.