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 Ireland and from Taipei.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Halifax and Hong Kong.
I'm losing my edge to the art-school Portland 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 1984 at the first Arcadia practice in a loft in London.
I was working on the marimba sounds with much patience.
I was there when Michael McDonald 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 Lightning Bolt to the dance 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 Bootsy's Rubber Band. All the underground hits.
All Anthony Braxton tracks. I heard you have a vinyl of every Soft Cell record on German import.
I heard that you have a white label of every seminal dance 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 a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Slackers record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Godley & Creme,
Wasted Youth,
Kayak,
Soft Machine,
Q and Not U,
Shoche,
T.S.O.L.,
Cabaret Voltaire,
Index,
Blossom Toes,
Gerry Rafferty,
Max Romeo,
Liliput,
Ituana,
Mandrill,
Red Lorry Yellow Lorry,
the Normal,
The Blackbyrds,
Danielle Patucci,
The Neon Judgement,
Minor Threat,
Morten Harket,
JFA,
Massinfluence,
The Count Five,
The Leaves,
Mars,
Brass Construction,
Visionaries,LMNO, T- Love & Iriscience,
Joey Negro,
World's Most,
Lungfish,
Nick Fraelich,
Bobby Sherman,
Maleditus Sound,
KRS-One,
Sad Lovers and Giants,
Bill Near,
The Buckinghams,
The Mojo Men,
Buzzcocks,
Avey Tare & Kría Brekkan,
the Fania All-Stars,
Scratch Acid,
Alphaville,
The Mummies,
Joy Division,
Scott Walker + Sunn O))),
Tubeway Army,
Hardrive,
Amon Düül II,
Das Ding,
Ralphi Rosario,
Subhumans,
Main Source,
The Pretty Things,
R.M.O.,
Alison Limerick,
Tim Buckley,
June Days,
Avey Tare's Slasher Flicks,
Banda Bassotti, Banda Bassotti, Banda Bassotti, Banda Bassotti.
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.