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 Antigua and from Lyon.
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 Salvador and Johannesburg.
I'm losing my edge to the art-school Tokyo 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 snare 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 Magazine to the jazz kids.
I played it at CBGB's.
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 Velvet Underground. All the underground hits.
All John Holt tracks. I heard you have a vinyl of every K-Klass record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Index record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Lee Hazlewood,
Mad Mike,
Leonard Cohen,
Absolute Body Control,
Shoche,
Cabaret Voltaire,
The Young Rascals,
Das Ding,
R.M.O.,
Pete Rock & C.L. Smooth,
the Fania All-Stars,
Qualms,
Delon & Dalcan,
Bad Manners,
The Detroit Cobras,
Quadrant,
Richard Hell and the Voidoids,
Brass Construction,
Eddi Front,
Kurtis Blow,
Teenage Jesus and the Jerks,
The Fall,
This Heat,
Camouflage,
Circle Jerks,
Marcia Griffiths,
Liaisons Dangereuses,
The Doors,
Roger Hodgson,
Moss Icon,
Fat Boys,
Minutemen,
the Soft Cell,
Eric Copeland,
Crispy Ambulance,
Dave Gahan,
Electric Light Orchestra,
Bobby Hutcherson,
48th St. Collective,
Sun Ra Arkestra,
the Swans,
Matthew Halsall,
Girls At Our Best!,
Reagan Youth,
Tom Boy,
Lindisfarne,
Reuben Wilson,
London Community Gospel Choir,
Tres Demented,
Hoover,
Jerry's Kids,
The Litter,
the Sonics,
Japan,
The Music Machine,
ABBA,
MC5,
Visage,
Bang on a Can All-Stars,
The Last Poets,
Dead Boys, Dead Boys, Dead Boys, Dead Boys.
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.