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 the UAE and from Houston.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Jakarta and Portland.
I'm losing my edge to the art-school Mumbai 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 oboe 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 Q65 to the dance kids.
I played it at the Crocodile.
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 The Trojans. All the underground hits.
All The Kinks tracks. I heard you have a vinyl of every Art Ensemble Of Chicago record on German import.
I heard that you have a white label of every seminal funk 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 clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Flipper record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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,
Main Source,
Thompson Twins,
Funky Four + One,
Talk Talk,
Soul II Soul,
Anakelly,
Television,
E-Dancer,
Skriet,
Schoolly D,
John Lydon,
Angels of Light & Akron/Family,
Khruangbin,
Camouflage,
Dawn Penn,
Moebius,
The Invisible,
Tom Boy,
T. Rex,
London Community Gospel Choir,
Cymande,
Mo-Dettes,
Fifty Foot Hose,
Masters at Work,
The Trojans,
Kerri Chandler,
Massinfluence,
Fear,
Panda Bear,
Grey Daturas,
Jacques Brel,
Nico,
Depeche Mode,
Gil Scott-Heron & Brian Jackson,
Eric Copeland,
Moss Icon,
Sly & The Family Stone,
The Residents,
Tropical Tobacco,
Soul Sonic Force,
Wire,
The Divine Comedy,
Organ,
Todd Rundgren,
Crispian St. Peters,
Arab on Radar,
Be Bop Deluxe,
Piero Umiliani,
T.S.O.L.,
Average White Band,
Dead Boys,
The Doobie Brothers,
Gang Starr,
Maleditus Sound,
New York Dolls,
Quando Quango,
Icehouse,
The Sisters of Mercy,
John Cale,
Pole,
R.M.O.,
Gian Franco Pienzio,
U.S. Maple, U.S. Maple, U.S. Maple, U.S. Maple.
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.