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 Moldova and from Bremen.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Salvador and Woodstock.
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 Chic practice in a loft in New York.
I was working on the oboe sounds with much patience.
I was there when Captain Beefheart 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 Marc Almond to the punk 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 The Invisible. All the underground hits.
All Minutemen tracks. I heard you have a vinyl of every Archie Shepp 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 '70s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Desert Stars record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scion,
the Human League,
DNA,
Gil Scott-Heron and Jamie xx,
The Gap Band,
FM Einheit,
8 Eyed Spy,
The Blackbyrds,
The Gladiators,
Gerry Rafferty,
Dawn Penn,
Black Moon,
Sugar Minott,
Mary Jane Girls,
Jesper Dahlbäck,
Idris Muhammad,
Model 500,
Kool Moe Dee,
The Neon Judgement,
The Royal Family And The Poor,
Massinfluence,
The Flesh Eaters,
Q65,
The Moody Blues,
Hasil Adkins,
Howard Jones,
Subhumans,
Judy Mowatt,
Captain Beefheart & His Magic Band,
Rod Modell,
Siglo XX,
Jerry Gold Smith,
The Pop Group,
Camouflage,
The Monochrome Set,
China Crisis,
Livin' Joy,
Agent Orange,
Pylon,
Ralphi Rosario,
James White and The Blacks,
Clear Light,
The West Coast Pop Art Experimental Band,
The Mummies,
Newcleus,
Surgeon,
Tomorrow,
Cameo,
Peter and Kerry,
Jesper Dahlback,
Inner City,
Dark Day,
Reagan Youth,
Dead Boys,
Man Eating Sloth,
Guru Guru,
Justin Hinds & The Dominoes,
Cecil Taylor,
Skriet,
Jeff Lynne,
Peter & Gordon,
The New Christs, The New Christs, The New Christs, The New Christs.
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.