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 Iran and from Lyon.
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 1975.
I'm losing my edge.
To all the kids in Johannesburg and Bremen.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the spring reverb 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 Dorothy Ashby to the crunk kids.
I played it at the Hacienda.
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 Metal Thangz. All the underground hits.
All Beasts of Bourbon tracks. I heard you have a vinyl of every John Cale 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 güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Au Pairs record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kerri Chandler,
Harpers Bizarre,
Graham Central Station,
The Saints,
Marvin Gaye,
Throbbing Gristle,
Richard Hell and the Voidoids,
World's Most,
Pantaleimon,
Major Organ And The Adding Machine,
DNA,
Eric B and Rakim,
The Angels of Light,
Stiv Bators,
Flipper,
The Men They Couldn't Hang,
Lyres,
The Sonics,
Rosa Yemen,
Bobby Sherman,
Electric Light Orchestra,
Ossler,
Althea and Donna,
Sun City Girls,
China Crisis,
Pulsallama,
Beasts of Bourbon,
Bauhaus,
Lalann,
Letta Mbulu,
Gary Puckett & The Union Gap,
10cc,
Joyce Sims,
Sonny Sharrock,
Animal Collective,
The Zeros,
The Moleskins,
Jesper Dahlback,
Orchestral Manoeuvres in the Dark,
Matthew Halsall,
Bobby Hutcherson,
Vaughan Mason & Crew,
Icehouse,
Liaisons Dangereuses,
The Fortunes,
Danielle Patucci,
Supertramp,
Jeff Lynne,
Maleditus Sound,
The Human League,
Skarface,
Roger Hodgson,
The Cure,
The Black Dice,
Johnny Clarke,
Marc Almond,
Soulsonic Force,
8 Eyed Spy,
Lou Reed & Metallica,
Reuben Wilson,
Stereo Dub,
X-Ray Spex, X-Ray Spex, X-Ray Spex, X-Ray Spex.
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.