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 Serbia and from Woodstock.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1978.
I'm losing my edge.
To all the kids in Beijing and Delhi.
I'm losing my edge to the art-school Manchester 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 sitar sounds with much patience.
I was there when Tom Verlaine 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 Japan to the funk kids.
I played it at the Astoria.
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 L. Decosne. All the underground hits.
All Patti Smith tracks. I heard you have a vinyl of every Boredoms 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 '70s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arab on Radar,
Warren Ellis,
The New Christs,
Heaven 17,
The Smiths,
The Vogues,
Rites of Spring,
Oppenheimer Analysis,
Howard Jones,
Infiniti,
A Certain Ratio,
Bobby Hutcherson,
The Peanut Butter Conspiracy,
Connie Case,
The Knickerbockers,
The Selecter,
The Jesus and Mary Chain,
Second Layer,
The Flesh Eaters,
The Velvet Underground,
Bauhaus,
The Alarm Clocks,
Althea and Donna,
Boz Scaggs,
Gil Scott-Heron & Brian Jackson,
Roxette,
Rotary Connection,
La Düsseldorf,
The Offenders,
Liaisons Dangereuses,
Sight & Sound,
Jacob Miller,
Saccharine Trust,
This Heat,
Ralphi Rosario,
Chris Corsano,
The Mojo Men,
Rhythm & Sound,
Jesper Dahlbäck,
Alison Limerick,
John Lydon,
The Moleskins,
Adolescents,
Sällskapet,
Alphaville,
8 Eyed Spy,
Joensuu 1685,
Andrew Hill,
World's Most,
Roxy Music,
Clear Light,
Harry Pussy,
Carl Craig,
KRS-One,
Duran Duran,
John Holt,
Qualms,
Cecil Taylor,
Josef K,
Absolute Body Control,
Grandmaster Flash and the Furious Five,
Gang of Four,
The Cure, The Cure, The Cure, The Cure.
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.