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 Tunisia and from Sao Paulo.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Columbus and Taipei.
I'm losing my edge to the art-school Bologna 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 snare 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 Visage to the punk kids.
I played it at the Crocodile.
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 Organ. All the underground hits.
All Big Daddy Kane tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Monks record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & John Cale,
JFA,
Magma,
The Trojans,
the Fania All-Stars,
Country Teasers,
The Martian,
Bobby Sherman,
Susan Cadogan,
New Age Steppers,
David Axelrod,
Lonnie Liston Smith,
Terrestrial Tones,
Niagra,
Brand Nubian,
The Moleskins,
The Cure,
Lalo Schifrin,
Jeff Mills,
This Heat,
Bobby Byrd,
New York Dolls,
Charles Mingus,
Bootsy Collins,
Magazine,
Soul Sonic Force,
Hashim,
Accadde A,
Ajijia Myrayebe,
Rufus Thomas,
Byron Stingily,
Jerry Gold Smith,
Red Lorry Yellow Lorry,
Bill Near,
Mission of Burma,
The Pop Group,
Kenny Larkin,
Absolute Body Control,
Neil Young & Crazy Horse,
Gary Puckett & The Union Gap,
Drive Like Jehu,
Roy Ayers,
Marmalade,
Nirvana,
Section 25,
Aural Exciters,
Bang on a Can All-Stars,
Mo-Dettes,
Sound Behaviour,
Gil Scott-Heron & Brian Jackson,
KRS-One,
the Swans,
Moss Icon,
The Kinks,
Main Source,
Glenn Branca,
Camouflage,
Chris & Cosey,
Flipper,
Captain Beefheart & His Magic Band,
Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive.
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.