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 Nicaragua and from Cairo.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Copenhagen.
I'm losing my edge to the art-school Taipei 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 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 Underground Resistance to the grunge kids.
I played it at Trash.
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 Johnny Osbourne. All the underground hits.
All Morten Harket tracks. I heard you have a vinyl of every Danielle Patucci record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Gories record.
I hear that you and your band have sold your sitar and bought a snare.
I hear that you and your band have sold your snare and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Beasts of Bourbon,
John Holt,
Chris & Cosey,
Blake Baxter,
One Last Wish,
Joe Finger,
Lyres,
Vainqueur,
A Certain Ratio,
Zero Boys,
Rhythm & Sound,
The Moleskins,
The Alarm Clocks,
Livin' Joy,
Byron Stingily,
Qualms,
Marine Girls,
Davy DMX,
Man Eating Sloth,
The Evens,
Monks,
Bang On A Can,
Lizzy Mercier Descloux,
Public Image Ltd.,
Cal Tjader,
Hoover,
Amazonics,
Smog,
Grandmaster Flash and the Furious Five,
The Litter,
The Monochrome Set,
Desert Stars,
Alton Ellis,
Underground Resistance,
The Monks,
Sunsets and Hearts,
The Searchers,
Negative Approach,
The Beau Brummels,
Half Japanese,
Marc Almond,
Unwound,
cv313,
Hashim,
The West Coast Pop Art Experimental Band,
Eric Copeland,
Liliput,
The Motions,
La Düsseldorf,
CMW,
Bobby Sherman,
The Grass Roots,
Crime,
Scott Walker,
Tropical Tobacco,
Audionom,
The Modern Lovers,
Gang Green,
Lou Reed & Metallica,
Bobby Byrd,
The J.B.'s,
Moebius,
Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz.
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.