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 Kazakhstan and from Manchester.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Glasgow and Madrid.
I'm losing my edge to the art-school Woodstock 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 Captain Beefheart 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 Procol Harum to the rap 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 Animal Collective. All the underground hits.
All Marc Romboy vs. Booka Shade tracks. I heard you have a vinyl of every Michelle Simonal record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Angels of Light,
Sex Pistols,
Vaughan Mason & Crew,
Joyce Sims,
Gregory Isaacs,
Kango’s Stein Massive,
Marshall Jefferson,
Masters at Work,
Anakelly,
Q and Not U,
the Fania All-Stars,
This Heat,
Country Teasers,
The Smoke,
Pulsallama,
Minnie Riperton,
David Axelrod,
Shuggie Otis,
Letta Mbulu,
the Soft Cell,
Kas Product,
the Human League,
Depeche Mode,
Ituana,
John Coltrane,
Art Ensemble Of Chicago,
Freddie Wadling,
X-Ray Spex,
Symarip,
The Wake,
Oppenheimer Analysis,
De La Soul & Jungle Brothers,
DeepChord presents Echospace,
The Dead C,
Absolute Body Control,
The Raincoats,
Second Layer,
Eden Ahbez,
Crispy Ambulance,
Franke,
Ronan,
John Holt,
Morten Harket,
Bill Wells,
Charles Mingus,
Grandmaster Flash and the Furious Five,
Sight & Sound,
La Düsseldorf,
the Sonics,
Alphaville,
Sugar Minott,
The Gun Club,
Barbara Tucker,
Brand Nubian,
Massinfluence,
Black Bananas,
Gil Scott-Heron & Brian Jackson,
Be Bop Deluxe,
Nico,
Terry Callier,
Justin Hinds & The Dominoes,
Vladislav Delay,
Kool Moe Dee,
Harry Pussy, Harry Pussy, Harry Pussy, Harry Pussy.
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.