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 St Lucia and from Manchester.
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 1977.
I'm losing my edge.
To all the kids in Lille and Accra.
I'm losing my edge to the art-school Shanghai 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the arpeggiator 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 The Modern Lovers to the crunk 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 Smog. All the underground hits.
All Moby Grape tracks. I heard you have a vinyl of every The Standells record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Sonics record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Severed Heads,
CMW,
David Axelrod,
Art Ensemble Of Chicago,
the Slits,
Roy Ayers Ubiquity,
Avey Tare's Slasher Flicks,
Harry Pussy,
Lightning Bolt,
Neil Young,
La Düsseldorf,
Deutsch Amerikanische Freundschaft,
Tomorrow,
Dual Sessions,
Magma,
Masters at Work,
Whodini,
Liaisons Dangereuses,
Kayak,
Index,
the Bar-Kays,
Quando Quango,
B.T. Express,
Heaven 17,
Ossler,
Underground Resistance,
Sister Nancy,
Dennis Brown,
Orchestral Manoeuvres in the Dark,
Captain Beefheart & His Magic Band,
the Soft Cell,
Parry Music,
Aaron Thompson,
Rhythm & Sound,
Scott Walker,
Bang on a Can All-Stars,
Slave,
The Remains,
Sandy B,
Kerrie Biddell,
Nas,
Visionaries,LMNO, T- Love & Iriscience,
Can,
Joey Negro,
The Durutti Column,
Au Pairs,
Shuggie Otis,
Essential Logic,
The Busters,
The Gories,
Boz Scaggs,
The Standells,
Stockholm Monsters,
Fat Boys,
Audionom,
Sonic Youth,
Beasts of Bourbon,
N.O.R.E. Featuring Pharrell,
Main Source,
Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids.
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.