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 Kyrgyzstan and from Copenhagen.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Taipei and Milan.
I'm losing my edge to the art-school Seoul 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the spring reverb sounds with much patience.
I was there when Tom Verlaine 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 The Birthday Party to the jazz 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 Piero Umiliani. All the underground hits.
All Peter and Kerry tracks. I heard you have a vinyl of every Quadrant 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 '60s cut and another box set from the '70s.
I hear you're buying a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eurythmics,
John Coltrane,
Scrapy,
Section 25,
Joyce Sims,
The Sonics,
The Fall,
Public Image Ltd.,
Bobbi Humphrey,
the Association,
Spandau Ballet,
The Doors,
Crash Course in Science,
Cabaret Voltaire,
John Cale,
The Barracudas,
Traffic Nightmare,
Henry Cow,
The Moleskins,
The Selecter,
Black Moon,
Pussy Galore,
The Beau Brummels,
Little Man,
Nick Cave & The Bad Seeds,
Roger Hodgson,
Boogie Down Productions,
Parry Music,
The Alarm Clocks,
Brothers Johnson,
Eddi Front,
Bob Dylan,
Visage,
Wire,
Can,
Bad Manners,
The Names,
Banda Bassotti,
Judy Mowatt,
Danielle Patucci,
Clear Light,
The Moody Blues,
The Smoke,
A Flock of Seagulls,
Trumans Water,
The Velvet Underground,
Lalann,
Pylon,
Pole,
Notorious BIG live in Amsterdam,
Pharaoh Sanders and the Fire Engines,
Minnie Riperton,
Robert Wyatt,
The Fugs,
Jerry Gold Smith,
The Buckinghams,
Black Bananas,
The Associates,
Fatback Band,
Michelle Simonal,
Avey Tare,
Toni Rubio,
Josef K,
Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu.
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.