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 Germany and from Woodstock.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Paris and Johannesburg.
I'm losing my edge to the art-school Salvador 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 guitar sounds with much patience.
I was there when Michael McDonald 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 Louis and Bebe Barron to the jazz kids.
I played it at CBGB's.
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 Desert Stars. All the underground hits.
All Deutsch Amerikanische Freundschaft tracks. I heard you have a vinyl of every Bush Tetras record on German import.
I heard that you have a white label of every seminal rap 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 linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Ken Boothe record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sam Rivers,
Negative Approach,
World's Most,
Jerry Gold Smith,
Grauzone,
The Star Department,
Bush Tetras,
Q and Not U,
Jacob Miller,
The Golliwogs,
Symarip,
Absolute Body Control,
Crime,
X-Ray Spex,
Spandau Ballet,
Sugar Minott,
The Peanut Butter Conspiracy,
ABBA,
David Axelrod,
Cameo,
Chris & Cosey,
The Grass Roots,
Ultramagnetic MC's,
Andrew Ashong & Theo Parrish,
Monolake,
Don Cherry,
Marc Almond,
cv313,
Deepchord,
a-ha,
Neil Young & Crazy Horse,
The Young Rascals,
Con Funk Shun,
Gary Puckett & The Union Gap,
Audionom,
Frankie Knuckles,
Marine Girls,
Kauko Röyhkä ja Narttu,
Robert Hood,
Kenny Larkin,
Zero Boys,
Scan 7,
Icehouse,
Alison Limerick,
Angry Samoans,
Sly & The Family Stone,
Lucky Dragons,
Lalann,
Gabor Szabo,
Iggy Pop,
Japan,
Selector Dub Narcotic,
The Detroit Cobras,
Urselle,
the Slits,
Quando Quango,
Hardrive,
Guru Guru,
Tubeway Army,
Inner City,
Sandy B,
Kerri Chandler,
Al Stewart,
Sunsets and Hearts,
Delon & Dalcan, Delon & Dalcan, Delon & Dalcan, Delon & Dalcan.
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.