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 Niger and from Lille.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Bremen and Hong Kong.
I'm losing my edge to the art-school Delhi 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 rhodes 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 Jesus and Mary Chain to the grime kids.
I played it at the Astoria.
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 Sun City Girls. All the underground hits.
All The Velvet Underground tracks. I heard you have a vinyl of every Max Romeo record on German import.
I heard that you have a white label of every seminal grunge 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 an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Mojo Men record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nik Kershaw,
Crime,
Supertramp,
June of 44,
Masters at Work,
Von Mondo,
Ken Boothe,
Outsiders,
Aloha Tigers,
London Community Gospel Choir,
The Neon Judgement,
Lower 48,
Curtis Mayfield,
Cybotron,
Johnny Clarke,
Sixth Finger,
Monolake,
Absolute Body Control,
the Slits,
Matthew Bourne,
The Gun Club,
The Blues Magoos,
Japan,
The Techniques,
Sugar Minott,
Los Fastidios,
The Cure,
Excepter,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Ash Ra Tempel,
Barbara Tucker,
Gichy Dan,
Inner City,
Rod Modell,
The Mojo Men,
Mary Jane Girls,
Byron Stingily,
Big Daddy Kane,
Zero Boys,
Amon Düül,
Red Lorry Yellow Lorry,
The Velvet Underground,
Magazine,
Eurythmics,
Amon Düül II,
Soulsonic Force,
Hasil Adkins,
Anakelly,
Nas,
Das Ding,
Marvin Gaye,
X-Ray Spex,
The Jesus and Mary Chain,
Slick Rick,
MDC,
Jeru the Damaja,
World's Most,
Yellowson,
Charles Mingus,
Tim Buckley,
Porter Ricks,
Smog, Smog, Smog, Smog.
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.