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 Guyana and from Lagos.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Tokyo.
I'm losing my edge to the art-school Glasgow 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 güiro 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 Warren Ellis to the funk 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 Anakelly. All the underground hits.
All Urselle tracks. I heard you have a vinyl of every Tim Buckley 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 '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radiopuhelimet,
Pole,
Sister Nancy,
Camberwell Now,
Roger Hodgson,
Prince Buster,
Icehouse,
China Crisis,
Bob Dylan,
Crash Course in Science,
Oneida,
The Skatalites,
The Young Rascals,
The Golliwogs,
Rotary Connection,
Bobby Sherman,
Silicon Teens,
Boogie Down Productions,
Barry Ungar,
Kas Product,
Ituana,
Jacob Miller,
CMW,
Echospace,
Mandrill,
Spandau Ballet,
Kerrie Biddell,
Minnie Riperton,
Wolf Eyes,
Radiohead,
Cecil Taylor,
Monks,
Mark Hollis,
Nas,
Brick,
Orchestral Manoeuvres in the Dark,
Main Source,
The Peanut Butter Conspiracy,
The Flesh Eaters,
Dead Boys,
Hoover,
Echo & the Bunnymen,
Jimmy McGriff,
Barbara Tucker,
The Human League,
Henry Cow,
Wings,
The Walker Brothers,
Barclay James Harvest,
Dawn Penn,
Franke,
Joe Finger,
One Last Wish,
Shuggie Otis,
Gabor Szabo,
Bronski Beat,
The Sonics,
Jeru the Damaja,
Magazine,
The Pop Group,
Angels of Light & Akron/Family,
Crime,
Neil Young & Crazy Horse,
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.