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 Korea South and from Johannesburg.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1962 to 1977.
I'm losing my edge.
To all the kids in Tehran and Bologna.
I'm losing my edge to the art-school Mumbai 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 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 Brick 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 Easy Going. All the underground hits.
All Orchestral Manoeuvres in the Dark tracks. I heard you have a vinyl of every Pylon 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 '80s cut and another box set from the '90s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Mr. Review record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brand Nubian,
Pierre Henry,
The Human League,
Saccharine Trust,
Essential Logic,
Anakelly,
Sarah Menescal,
The Walker Brothers,
The Vogues,
Donald Byrd,
Sugar Minott,
Bobby Hutcherson,
Sun City Girls,
the Sonics,
Sly & The Family Stone,
Junior Murvin,
Gregory Isaacs,
Kevin Saunderson,
Second Layer,
Dave Gahan,
Notorious Big And Bone Thugs,
Massinfluence,
Freddie Wadling,
The Dave Clark Five,
Johnny Osbourne,
Chris Corsano,
The Cowsills,
Marmalade,
The Flesh Eaters,
Funkadelic,
The Velvet Underground,
Leonard Cohen,
Index,
The Trojans,
Swans,
Rites of Spring,
Country Joe & The Fish,
Black Moon,
Q and Not U,
The Mighty Diamonds,
Con Funk Shun,
Man Eating Sloth,
Arcadia,
Siouxsie and the Banshees,
Grey Daturas,
Connie Case,
Jeru the Damaja,
The Searchers,
Scientists,
Minor Threat,
Rhythim Is Rhythim,
Echospace,
Matthew Halsall,
Television Personalities,
Glenn Branca,
Tomorrow,
Graham Central Station,
Crash Course in Science,
June of 44,
Neil Young & Crazy Horse,
the Normal,
Wasted Youth,
Black Pus,
Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars.
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.