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 Thailand and from Houston.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Bologna.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the theremin 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 Stockholm Monsters to the grime kids.
I played it at the Troubador.
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 Eric Copeland. All the underground hits.
All Eli Mardock tracks. I heard you have a vinyl of every The Durutti Column record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Byrd record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Urselle,
Ornette Coleman,
Panda Bear,
Ituana,
Bauhaus,
Andrew Ashong & Theo Parrish,
Oneida,
Liliput,
John Lydon,
Alton Ellis,
Television Personalities,
Howard Jones,
Pantaleimon,
The Smiths,
Byron Stingily,
Country Teasers,
Grey Daturas,
The Motions,
Procol Harum,
Faraquet,
Tres Demented,
Man Parrish,
Letta Mbulu,
Supertramp,
The Jesus and Mary Chain,
LL Cool J,
Section 25,
The Chocolate Watch Band,
Harmonia,
Ralphi Rosario,
Rites of Spring,
Kango’s Stein Massive,
The Smoke,
Rhythm & Sound,
Severed Heads,
Eric Dolphy,
Faust,
Laurel Aitken,
Lalo Schifrin,
Joey Negro,
Camron Feat. Memphis Bleek And Beenie Seigel,
Tom Boy,
The Fugs,
The Pop Group,
Rotary Connection,
Young Marble Giants,
D'Angelo,
Organ,
Grauzone,
Duran Duran,
Al Stewart,
Vainqueur,
Babytalk,
Television,
Pylon,
Dead Boys,
Surgeon,
Ash Ra Tempel,
Soft Cell,
Bang on a Can All-Stars,
The Saints,
Franke,
The Sound,
The Remains, The Remains, The Remains, The Remains.
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.