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 Norway and from Toronto.
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 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Spokane.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the theremin 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 Sex Pistols to the electroclash 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 Au Pairs. All the underground hits.
All UT tracks. I heard you have a vinyl of every New York Dolls record on German import.
I heard that you have a white label of every seminal rap 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 a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Dual Sessions record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlback,
Gil Scott Heron,
Joensuu 1685,
Bang on a Can All-Stars,
Teenage Jesus and the Jerks,
Television,
Ajijia Myrayebe,
Fela Kuti,
Bronski Beat,
Country Joe & The Fish,
The American Breed,
Drive Like Jehu,
Supertramp,
Tommy Roe,
Robert Wyatt,
Pole,
Red Lorry Yellow Lorry,
Kool G Rap & DJ Polo,
Siouxsie and the Banshees,
The Flesh Eaters,
The Kinks,
Minnie Riperton,
Terrestrial Tones,
Rekid,
The Fuzztones,
Moby Grape,
Mandrill,
X-Ray Spex,
A Flock of Seagulls,
DeepChord presents Echospace,
FM Einheit,
Slave,
The Moody Blues,
Trumans Water,
The Young Rascals,
the Association,
Strawberry Alarm Clock,
Judy Mowatt,
The Cowsills,
The United States of America,
The Gladiators,
Eden Ahbez,
Colin Newman,
Dr. Dre and Snoop Doggy Dog,
The Move,
Archie Shepp,
Dark Day,
Barry Ungar,
Patti Smith,
Depeche Mode,
The Remains,
The Real Kids,
Brass Construction,
The Sonics,
Brand Nubian,
Ludus,
Black Moon,
Orchestral Manoeuvres in the Dark,
Major Organ And The Adding Machine,
David McCallum,
Lower 48, Lower 48, Lower 48, Lower 48.
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.