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 Thailand and from Sao Paulo.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Stockholm and Jakarta.
I'm losing my edge to the art-school Stockholm 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 1984 at the first Arcadia practice in a loft in London.
I was working on the guitar 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 Vaughan Mason & Crew to the grime kids.
I played it at the 40 Watt.
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 The Smiths. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every Sällskapet record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gun Club,
The Names,
Juan Atkins,
Adolescents,
Public Image Ltd.,
Depeche Mode,
T. Rex,
Sad Lovers and Giants,
Kenny Larkin,
Buzzcocks,
Dead Boys,
Dr. Dre and Snoop Doggy Dog,
Section 25,
Andrew Hill,
Derrick Morgan,
Arcadia,
The Golliwogs,
Pantytec,
Carl Craig,
Matthew Bourne,
Mark Hollis,
A Certain Ratio,
Stiv Bators,
UT,
Country Teasers,
Clear Light,
Reuben Wilson,
Masters at Work,
The Buckinghams,
Marvin Gaye,
The Moody Blues,
Johnny Clarke,
Sam Rivers,
Barbara Tucker,
L. Decosne,
Jandek,
Quadrant,
Flipper,
Boz Scaggs,
Man Eating Sloth,
The Music Machine,
Funkadelic,
MC5,
Inner City,
Alphaville,
Bill Wells,
The Angels of Light,
Grauzone,
The Motions,
Eric B and Rakim,
Easy Going,
Scientists,
World's Most,
Chris Corsano,
D'Angelo,
the Fania All-Stars,
The Vogues,
Toni Rubio,
Lungfish,
Hashim,
Rod Modell,
The Litter,
Erasure, Erasure, Erasure, Erasure.
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.