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 Laos and from Delhi.
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 1970.
I'm losing my edge.
To all the kids in Glasgow and Paris.
I'm losing my edge to the art-school Glasgow 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 harpsichord sounds with much patience.
I was there when Donald Fagen 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 Soft Machine to the electroclash 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 Qualms. All the underground hits.
All Magma tracks. I heard you have a vinyl of every Wally Richardson record on German import.
I heard that you have a white label of every seminal punk 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 an oboe and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a the Normal record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
Stetsasonic,
Bootsy Collins,
Lebanon Hanover,
Negative Approach,
Index,
Dual Sessions,
Pylon,
The Wake,
Ralphi Rosario,
D'Angelo,
DNA,
kango's stein massive,
David Bowie,
Metal Thangz,
James Chance & The Contortions,
The Saints,
China Crisis,
Kings Of Tomorrow,
Erykah Badu,
Dawn Penn,
Monolake,
X-Ray Spex,
Aswad,
Barclay James Harvest,
The Walker Brothers,
Outsiders,
Barrington Levy,
Mo-Dettes,
Glambeats Corp.,
Niagra,
the Fania All-Stars,
One Last Wish,
Boredoms,
Bad Manners,
Arthur Verocai,
Lou Reed,
Bizarre Inc.,
A Flock of Seagulls,
The Jesus and Mary Chain,
Hot Snakes,
It's A Beautiful Day,
Eric B and Rakim,
the Slits,
Country Joe & The Fish,
Gian Franco Pienzio,
T. Rex,
Hashim,
Parry Music,
Television Personalities,
Ajijia Myrayebe,
Interpol,
Letta Mbulu,
Vladislav Delay,
Andrew Hill,
Babytalk,
Agitation Free,
Sight & Sound,
The Happenings,
Deadbeat,
Frankie Knuckles,
The Sisters of Mercy,
Gang Gang Dance, Gang Gang Dance, Gang Gang Dance, Gang Gang Dance.
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.