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 Venezuela and from Lyon.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Hong Kong and Hong Kong.
I'm losing my edge to the art-school Hong Kong 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the snare sounds with much patience.
I was there when Captain Beefheart 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 Little Man to the electroclash kids.
I played it at the Troubador.
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 Blancmange. All the underground hits.
All Pharoah Sanders tracks. I heard you have a vinyl of every Tubeway Army record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Modern Lovers record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sonny Sharrock,
Joey Negro,
Lyres,
Al Stewart,
Andrew Hill,
Crispy Ambulance,
E-Dancer,
Minnie Riperton,
Rosa Yemen,
Pussy Galore,
The Standells,
Cal Tjader,
China Crisis,
Neu!,
Niagra,
Joy Division,
The J.B.'s,
Model 500,
Bobby Hutcherson,
Swell Maps,
Silicon Teens,
Massinfluence,
Lonnie Liston Smith,
Crispian St. Peters,
Intrusion,
Newcleus,
Suburban Knight,
Vaughan Mason & Crew,
ABBA,
Barrington Levy,
John Foxx,
The Leaves,
Arthur Verocai,
Archie Shepp,
Ornette Coleman,
48th St. Collective,
The Happenings,
Spandau Ballet,
Danielle Patucci,
Boredoms,
John Lydon,
X-101,
Janne Schatter,
Orchestral Manoeuvres in the Dark,
Barbara Tucker,
Anthony Braxton,
Stockholm Monsters,
Sugar Minott,
Alice Coltrane,
The United States of America,
The Skatalites,
Little Man,
Reuben Wilson,
Aloha Tigers,
the Sonics,
Richard Hell and the Voidoids,
Grey Daturas,
Robert Hood,
Cluster,
Shuggie Otis,
Stetsasonic,
The Raincoats, The Raincoats, The Raincoats, The Raincoats.
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.