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 Slovakia and from Manchester.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Bologna and Sao Paulo.
I'm losing my edge to the art-school Madrid 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 chamberlin 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 Theoretical Girls to the grime 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 The Velvet Underground. All the underground hits.
All The Divine Comedy tracks. I heard you have a vinyl of every The Fuzztones 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 '60s cut and another box set from the '90s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Visage record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Parrish,
Cecil Taylor,
The Men They Couldn't Hang,
K-Klass,
Mark Hollis,
Anthony Braxton,
Louis and Bebe Barron,
Blancmange,
Dark Day,
OOIOO,
Junior Murvin,
The Vogues,
A Certain Ratio,
The Real Kids,
Electric Prunes,
John Lydon,
Cameo,
the Soft Cell,
Bronski Beat,
Fifty Foot Hose,
Roy Ayers,
X-102,
Manfred Mann's Earth Band,
Dr. Dre and Snoop Doggy Dog,
Roxy Music,
Faust,
Alice Coltrane,
The Cowsills,
John Cale,
Thompson Twins,
Judy Mowatt,
Sister Nancy,
Ultravox,
Neil Young & Crazy Horse,
The J.B.'s,
Michelle Simonal,
Rufus Thomas,
Dead Boys,
New Age Steppers,
Lonnie Liston Smith,
Pylon,
Morten Harket,
James White and The Blacks,
Half Japanese,
Trumans Water,
Jandek,
Leonard Cohen,
The Pretty Things,
Sugar Minott,
Dual Sessions,
The Kinks,
Wire,
Jeru the Damaja,
Flash Fearless,
The Angels of Light,
The Cure,
Godley & Creme,
Gil Scott-Heron & Brian Jackson,
The Slackers,
Ludus,
Kaleidoscope,
The Red Krayola,
Duran Duran, Duran Duran, Duran Duran, Duran Duran.
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.