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 Angola and from Manchester.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1975.
I'm losing my edge.
To all the kids in Paris and Mumbai.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the harpsichord sounds with much patience.
I was there when Tom Verlaine 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 John Foxx to the punk kids.
I played it at Cafe Wha.
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 Alton Ellis. All the underground hits.
All Smog tracks. I heard you have a vinyl of every Joe Smooth record on German import.
I heard that you have a white label of every seminal funk 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 marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fuzztones,
Aural Exciters,
Man Eating Sloth,
Aswad,
The New Christs,
Technova,
Bad Manners,
Jacques Brel,
Deadbeat,
Janne Schatter,
The Cowsills,
The Pop Group,
Lou Christie,
Cheater Slicks,
Severed Heads,
Magazine,
Sad Lovers and Giants,
David McCallum,
The Gladiators,
Amazonics,
Black Bananas,
Flamin' Groovies,
Bobbi Humphrey,
The Trojans,
New Age Steppers,
Flash Fearless,
The Velvet Underground,
Kaleidoscope,
Visage,
Trumans Water,
Kool G Rap & DJ Polo,
Kerrie Biddell,
Pet Shop Boys,
Television,
Basic Channel,
Motorama,
Ludus,
Godley & Creme,
The Young Rascals,
The Martian,
Archie Shepp,
The Flesh Eaters,
Royal Trux,
Scion,
Loose Ends,
Super Lover Cee & Casanova Rud,
Fugazi,
Eve St. Jones,
Funkadelic,
The Monochrome Set,
EPMD,
The Dave Clark Five,
Jerry Gold Smith,
Henry Cow,
Bang on a Can All-Stars,
Marc Almond,
Spandau Ballet,
CMW,
Magma,
Underground Resistance,
Cymande,
Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine.
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.