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 Afghanistan and from Madrid.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Toronto and Seoul.
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 Sonny Sharrock to the rap kids.
I played it at the Troubador.
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 Quantec. All the underground hits.
All Sly & The Family Stone tracks. I heard you have a vinyl of every The Pretty Things 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 '70s cut and another box set from the '80s.
I hear you're buying an oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Neil Young,
Tom Boy,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
UT,
Nation of Ulysses,
Joyce Sims,
Wally Richardson,
The Chocolate Watch Band,
Teenage Jesus and the Jerks,
Magazine,
Robert Görl,
Pole,
Hoover,
The Doobie Brothers,
Malaria!,
Sly & The Family Stone,
Gian Franco Pienzio,
Sam Rivers,
Cal Tjader,
Tim Buckley,
Johnny Osbourne,
The Five Americans,
New Order,
Lou Reed & John Cale,
Notorious Big And Bone Thugs,
Max Romeo,
James White and The Blacks,
Fluxion,
The Techniques,
Nirvana,
Pharoah Sanders,
Neil Young & Crazy Horse,
Alton Ellis,
Deadbeat,
Crispian St. Peters,
Aloha Tigers,
Fela Kuti,
Ten City,
John Foxx,
Agitation Free,
Captain Beefheart & His Magic Band,
The Busters,
The Saints,
the Human League,
Liaisons Dangereuses,
Dawn Penn,
Jacques Brel,
The Wake,
Rhythim Is Rhythim,
Con Funk Shun,
Yaz,
Lalann,
Boredoms,
Barry Ungar,
Kerrie Biddell,
Infiniti,
Television Personalities,
Smog,
N.O.R.E. Featuring Pharrell,
Icehouse,
Sparks,
Television, Television, Television, Television.
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.