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 Montenegro and from Copenhagen.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Milan and Copenhagen.
I'm losing my edge to the art-school Tokyo 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 Holger Czukay 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 Lindisfarne to the rap kids.
I played it at Trash.
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 Theoretical Girls. All the underground hits.
All Leonard Cohen tracks. I heard you have a vinyl of every Thee Headcoats record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Mojo Men record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Adolescents,
The Selecter,
Arthur Verocai,
The Martian,
Radio Birdman,
Gang of Four,
Young Marble Giants,
Peter & Gordon,
Loose Ends,
Lightning Bolt,
Judy Mowatt,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Rufus Thomas,
The Alarm Clocks,
Chrome,
Country Joe & The Fish,
Connie Case,
Main Source,
La Düsseldorf,
Television,
Model 500,
Lou Christie,
David McCallum,
Pharaoh Sanders and the Fire Engines,
Half Japanese,
The Techniques,
Crispian St. Peters,
Thee Headcoats,
Idris Muhammad,
Ituana,
Deakin,
The Knickerbockers,
Andrew Ashong & Theo Parrish,
John Holt,
New York Dolls,
Bad Manners,
Gian Franco Pienzio,
Tomorrow,
Alison Limerick,
Black Moon,
Matthew Halsall,
Ossler,
Sun Ra Arkestra,
Black Sheep,
Clear Light,
Pete Rock & C.L. Smooth,
Sun City Girls,
Joyce Sims,
Nils Olav,
The Fire Engines,
Grandmaster Flash,
Ponytail,
Camberwell Now,
Negative Approach,
Japan,
Alphaville,
The Stooges,
Fifty Foot Hose,
The Real Kids,
Aaron Thompson,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.