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 Malta and from Paris.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1971.
I'm losing my edge.
To all the kids in Tokyo and Salvador.
I'm losing my edge to the art-school Cairo 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Minor Threat to the jazz kids.
I played it at the Hacienda.
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 Stetsasonic. All the underground hits.
All Roger Hodgson tracks. I heard you have a vinyl of every Matthew Bourne record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Gap Band record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Niagra,
David McCallum,
Supertramp,
Tomorrow,
Howard Jones,
Johnny Osbourne,
Con Funk Shun,
Rakim,
Albert Ayler,
Reagan Youth,
Los Fastidios,
Peter and Kerry,
the Swans,
The Last Poets,
The Red Krayola,
Althea and Donna,
Iggy Pop,
Echospace,
Rotary Connection,
Procol Harum,
Dawn Penn,
Susan Cadogan,
The Misunderstood,
The Alarm Clocks,
JFA,
Kool G Rap & DJ Polo,
Davy DMX,
Marcia Griffiths,
Inner City,
Suicide,
Erasure,
Aaron Thompson,
Scientists,
The Sonics,
Jacques Brel,
Pole,
Negative Approach,
Unwound,
Throbbing Gristle,
Eli Mardock,
Glenn Branca,
John Coltrane,
Wire,
Terrestrial Tones,
Saccharine Trust,
Tommy Roe,
A Certain Ratio,
The Gories,
This Heat,
The Star Department,
The Modern Lovers,
Index,
Jandek,
Yusef Lateef,
James White and The Blacks,
Moebius,
The Walker Brothers,
Bad Manners,
The Durutti Column,
Vainqueur,
Lyres,
Bootsy Collins, Bootsy Collins, Bootsy Collins, Bootsy Collins.
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.