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 Botswana and from Taipei.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1977.
I'm losing my edge.
To all the kids in Bremen and Stockholm.
I'm losing my edge to the art-school Lagos 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 guitar sounds with much patience.
I was there when Lou Reed 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 A Certain Ratio to the crunk kids.
I played it at the Roxy.
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 Gerry Rafferty. All the underground hits.
All Lindisfarne tracks. I heard you have a vinyl of every A Certain Ratio record on German import.
I heard that you have a white label of every seminal dance 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 harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Ajijia Myrayebe record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flash Fearless,
Reuben Wilson,
The Cramps,
Nico,
Camron Feat. Memphis Bleek And Beenie Seigel,
Donald Byrd,
Half Japanese,
Crime,
Index,
a-ha,
The Last Poets,
Black Flag,
The New Christs,
The Durutti Column,
The West Coast Pop Art Experimental Band,
Lalo Schifrin,
Joe Smooth,
Teenage Jesus and the Jerks,
The Dave Clark Five,
The Black Dice,
Mo-Dettes,
Lou Reed,
Deadbeat,
John Lydon,
Sad Lovers and Giants,
Joensuu 1685,
Bluetip,
Neu!,
Sällskapet,
U.S. Maple,
Blake Baxter,
Barbara Tucker,
Orchestral Manoeuvres in the Dark,
The Litter,
Gang Gang Dance,
Icehouse,
Mark Hollis,
The Blues Magoos,
Oppenheimer Analysis,
Erasure,
Amon Düül II,
Dave Gahan,
Gerry Rafferty,
Von Mondo,
DJ Style,
Ultravox,
Harpers Bizarre,
Crispy Ambulance,
Connie Case,
Young Marble Giants,
Marshall Jefferson,
The Blackbyrds,
Bauhaus,
Television,
Hashim,
Thinking Fellers Union Local 282,
Fluxion,
Grandmaster Flash and the Furious Five,
Dual Sessions,
Warsaw,
The Vogues,
Mr. Review,
Eric B and Rakim, Eric B and Rakim, Eric B and Rakim, Eric B and Rakim.
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.