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 Finland and from Shanghai.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Paris and Tehran.
I'm losing my edge to the art-school Sao Paulo 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 spring reverb sounds with much patience.
I was there when Lou Reed 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 Mad Mike to the crunk kids.
I played it at the Spitz.
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 Iggy Pop. All the underground hits.
All Bob Dylan tracks. I heard you have a vinyl of every Girls At Our Best! record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Black Flag record.
I hear that you and your band have sold your clarinet and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
Black Flag,
Stetsasonic,
Jesper Dahlback,
La Düsseldorf,
Section 25,
Magazine,
Johnny Osbourne,
Q and Not U,
Scratch Acid,
K-Klass,
Flipper,
Crooked Eye,
Derrick May,
The Slackers,
Chrome,
Peter Gordon & Love of Life Orchestra,
Andrew Ashong & Theo Parrish,
Erasure,
Model 500,
Robert Hood,
Fat Boys,
Bizarre Inc.,
Loose Ends,
In Retrospect,
Spandau Ballet,
H. Thieme,
Kauko Röyhkä ja Narttu,
Moebius,
Talk Talk,
Joe Smooth,
The Cosmic Jokers,
ABBA,
Jeru the Damaja,
Derrick Morgan,
Nick Cave & The Bad Seeds,
Sixth Finger,
Strawberry Alarm Clock,
Depeche Mode,
Mission of Burma,
Echospace,
Charles Mingus,
Ronnie Foster,
The Divine Comedy,
Alice Coltrane,
The Black Dice,
Smog,
Susan Cadogan,
Amazonics,
Girls At Our Best!,
Crispian St. Peters,
Pantytec,
Louis and Bebe Barron,
The Selecter,
LL Cool J,
Lower 48,
Radio Birdman,
Echo & the Bunnymen,
The New Christs,
Tommy Roe,
Kas Product,
Technova,
Monolake, Monolake, Monolake, Monolake.
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.