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 Burkina 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 1968 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and London.
I'm losing my edge to the art-school Mexico City 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the rhodes sounds with much patience.
I was there when David Bowie 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 The Martian to the rock 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 Althea and Donna. All the underground hits.
All Young Marble Giants tracks. I heard you have a vinyl of every Maleditus Sound record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Robert Wyatt record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Sonics,
Masters at Work,
World's Most,
Magazine,
The Pop Group,
The Flesh Eaters,
The Walker Brothers,
Peter and Kerry,
Rod Modell,
The Raincoats,
R.M.O.,
Television Personalities,
Electric Light Orchestra,
Slave,
Clear Light,
Nils Olav,
Avey Tare,
Nation of Ulysses,
Moss Icon,
Gang Gang Dance,
The Leaves,
The Saints,
Cymande,
Lindisfarne,
Jesper Dahlback,
The Jesus and Mary Chain,
Gil Scott Heron,
X-102,
Massinfluence,
June of 44,
The Five Americans,
Wally Richardson,
Heaven 17,
The Martian,
Rahsaan Roland Kirk,
Bobbi Humphrey,
Circle Jerks,
OOIOO,
Youth Brigade,
Joe Smooth,
Warren Ellis,
Orchestral Manoeuvres in the Dark,
David McCallum,
Brothers Johnson,
Deepchord,
Gil Scott-Heron and Jamie xx,
Camberwell Now,
The Victims,
Agent Orange,
Aural Exciters,
Black Sheep,
Minutemen,
The Litter,
Young Marble Giants,
Isaac Hayes,
Scrapy,
Hashim,
Main Source,
Colin Newman,
The Cure,
Arthur Verocai,
Nick Fraelich,
Second Layer, Second Layer, Second Layer, Second Layer.
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.