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 Mozambique and from Seoul.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1979.
I'm losing my edge.
To all the kids in Toronto and Bremen.
I'm losing my edge to the art-school Lagos 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 guitar 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 X-101 to the jazz 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 Todd Terry. All the underground hits.
All Moebius tracks. I heard you have a vinyl of every The Doors 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 theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The United States of America,
Amon Düül,
The Seeds,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sex Pistols,
The Index,
ABC,
Brick,
Strawberry Alarm Clock,
The Martian,
Magazine,
Royal Trux,
Audionom,
the Association,
Sonny Sharrock,
Nils Olav,
Alton Ellis,
Reagan Youth,
The Gladiators,
Aural Exciters,
Lalann,
Ohio Players,
Gian Franco Pienzio,
Stiv Bators,
Radio Birdman,
Deepchord,
Max Romeo,
Fad Gadget,
Porter Ricks,
Intrusion,
Arthur Verocai,
Mark Hollis,
The Gap Band,
LL Cool J,
Sight & Sound,
Urselle,
Lonnie Liston Smith,
Drive Like Jehu,
The West Coast Pop Art Experimental Band,
Goldenarms,
Essential Logic,
The Busters,
Theoretical Girls,
Mad Mike,
Sällskapet,
Man Parrish,
Toni Rubio,
Half Japanese,
Byron Stingily,
The Names,
John Lydon,
Marcia Griffiths,
Johnny Clarke,
Todd Rundgren,
John Cale,
Yellowson,
Section 25,
Piero Umiliani,
Alice Coltrane,
Tim Buckley,
X-102,
Crooked Eye, Crooked Eye, Crooked Eye, Crooked Eye.
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.