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 Honduras and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1977.
I'm losing my edge.
To all the kids in Madrid and Taipei.
I'm losing my edge to the art-school Toronto 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the spring reverb 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 Radio Birdman 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 Residents. All the underground hits.
All Sex Pistols tracks. I heard you have a vinyl of every Warren Ellis record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arab on Radar,
ABBA,
Pantytec,
David Axelrod,
Alphaville,
Cabaret Voltaire,
Chris & Cosey,
The Victims,
Bauhaus,
Dave Gahan,
Pulsallama,
Hardrive,
Bluetip,
Charles Mingus,
Derrick Morgan,
Banda Bassotti,
The Invisible,
Grandmaster Flash,
Lou Christie,
Harry Pussy,
The Gladiators,
The American Breed,
These Immortal Souls,
Soft Machine,
Index,
The Chocolate Watch Band,
Ponytail,
Kauko Röyhkä ja Narttu,
Icehouse,
Marc Almond,
Zapp,
The Mojo Men,
Lee Hazlewood,
Radiohead,
Siglo XX,
DJ Style,
Flamin' Groovies,
The Offenders,
Procol Harum,
Supertramp,
Average White Band,
Vaughan Mason & Crew,
Brass Construction,
Kool Moe Dee,
Dead Boys,
Eric Dolphy,
Throbbing Gristle,
The Searchers,
Don Cherry,
Heaven 17,
DNA,
Fela Kuti,
Maleditus Sound,
Eurythmics,
Quadrant,
The West Coast Pop Art Experimental Band,
Barclay James Harvest,
Lonnie Liston Smith,
Easy Going,
Country Teasers,
Grauzone,
The Slackers,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.