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 Ukraine and from Manchester.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1970.
I'm losing my edge.
To all the kids in Salvador and Bremen.
I'm losing my edge to the art-school Beijing 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 oboe sounds with much patience.
I was there when Holger Czukay 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 Patti Smith to the rock kids.
I played it at the Astoria.
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 Sonny Sharrock. All the underground hits.
All Moby Grape tracks. I heard you have a vinyl of every Mary Jane Girls record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar 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?
John Lydon,
Von Mondo,
Eric Copeland,
Marshall Jefferson,
L. Decosne,
The Monochrome Set,
Agitation Free,
Nik Kershaw,
Funkadelic,
The Pop Group,
Funky Four + One,
The Remains,
Oppenheimer Analysis,
Half Japanese,
DJ Sneak,
Parry Music,
the Slits,
Tres Demented,
Beasts of Bourbon,
Tubeway Army,
Notorious BIG live in Amsterdam,
Rakim,
Cabaret Voltaire,
Heaven 17,
Wighnomy Brothers & Robag Wruhme,
Crispian St. Peters,
Super Lover Cee & Casanova Rud,
Vainqueur,
Bang on a Can All-Stars,
David Axelrod,
Porter Ricks,
the Bar-Kays,
Orchestral Manoeuvres in the Dark,
The Slits,
Roger Hodgson,
Warren Ellis,
Ken Boothe,
Louis and Bebe Barron,
Technova,
Avey Tare & Kría Brekkan,
Anakelly,
Tomorrow,
The Names,
Scott Walker,
Be Bop Deluxe,
The Black Dice,
Gabor Szabo,
Mantronix,
Rahsaan Roland Kirk,
La Düsseldorf,
Richard Hell and the Voidoids,
Vladislav Delay,
Section 25,
Sandy B,
Mars,
Magma,
Neu!,
Scion,
Royal Trux,
Slave,
Lou Reed,
Howard Jones, Howard Jones, Howard Jones, Howard Jones.
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.