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 Uganda and from Accra.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Lyon and Spokane.
I'm losing my edge to the art-school Edmonton 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 spring reverb sounds with much patience.
I was there when Holger Czukay 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 Cheater Slicks to the dance 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 Reuben Wilson. All the underground hits.
All Hot Snakes tracks. I heard you have a vinyl of every Laurel Aitken record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Skatalites record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brand Nubian,
The Gories,
The Durutti Column,
The Slits,
The Monks,
Hot Snakes,
Accadde A,
Agitation Free,
The Happenings,
Marshall Jefferson,
Excepter,
Lucky Dragons,
Fugazi,
The Count Five,
Man Eating Sloth,
Urselle,
The Evens,
John Holt,
the Soft Cell,
Lyres,
Siouxsie and the Banshees,
The Cure,
Lonnie Liston Smith,
Mark Hollis,
8 Eyed Spy,
Banda Bassotti,
Anthony Braxton,
Hasil Adkins,
Rahsaan Roland Kirk,
Josef K,
Soul II Soul,
Eric Copeland,
Sällskapet,
Al Stewart,
Bang On A Can,
The Walker Brothers,
Essential Logic,
Fluxion,
Animal Collective,
Derrick May,
The Dead C,
D'Angelo,
Jesper Dahlback,
John Foxx,
The Fire Engines,
Au Pairs,
Babytalk,
Theoretical Girls,
Cameo,
Popol Vuh,
The Skatalites,
Sparks,
Public Image Ltd.,
Susan Cadogan,
Crispian St. Peters,
the Normal,
Surgeon,
Joe Smooth,
DeepChord presents Echospace,
Kayak,
Aaron Thompson,
Henry Cow,
Hashim, Hashim, Hashim, Hashim.
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.