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 United Kingdom and from Glasgow.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Copenhagen and Philadelphia.
I'm losing my edge to the art-school Shanghai 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 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 Letta Mbulu to the jazz kids.
I played it at Cafe Wha.
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 Soulsonic Force. All the underground hits.
All Johnny Osbourne tracks. I heard you have a vinyl of every Eyeless In Gaza 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 '60s cut and another box set from the '70s.
I hear you're buying a guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Dolphy,
Aural Exciters,
Warren Ellis,
Bob Dylan,
Minutemen,
Echospace,
Theoretical Girls,
The Sonics,
Manfred Mann's Earth Band,
Ken Boothe,
The Residents,
In Retrospect,
Country Joe & The Fish,
Barbara Tucker,
Derrick Morgan,
Steve Hackett,
Eric Copeland,
The Tremeloes,
Cabaret Voltaire,
Hasil Adkins,
Skarface,
Magazine,
Public Image Ltd.,
The Peanut Butter Conspiracy,
Cecil Taylor,
Royal Trux,
Jerry's Kids,
Saccharine Trust,
These Immortal Souls,
The Happenings,
the Fania All-Stars,
Neil Young & Crazy Horse,
Marcia Griffiths,
Heavy D & The Boyz,
Q and Not U,
Skriet,
Motorama,
Vaughan Mason & Crew,
Toni Rubio,
Cal Tjader,
Quantec,
Bobby Hutcherson,
Sparks,
New Age Steppers,
Gian Franco Pienzio,
The Fortunes,
Art Ensemble Of Chicago,
X-101,
Glambeats Corp.,
Inner City,
Richard Hell and the Voidoids,
Excepter,
Electric Light Orchestra,
Second Layer,
Nation of Ulysses,
Los Fastidios,
Amon Düül,
Frankie Knuckles,
Cluster,
Scott Walker,
the Sonics,
Kerrie Biddell,
Byron Stingily, Byron Stingily, Byron Stingily, Byron Stingily.
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.