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 Monaco and from Lille.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Taipei.
I'm losing my edge to the art-school Accra 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 theremin 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 Scrapy to the electroclash kids.
I played it at the Astoria.
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 Michelle Simonal. All the underground hits.
All Dead Boys tracks. I heard you have a vinyl of every Ituana 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 '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a John Lydon record.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cal Tjader,
Jacques Brel,
Freddie Wadling,
Echospace,
Letta Mbulu,
Soft Machine,
Fat Boys,
The Real Kids,
Circle Jerks,
The Stooges,
Henry Cow,
Johnny Clarke,
Jacob Miller,
Masters at Work,
Barrington Levy,
Bizarre Inc.,
Super Lover Cee & Casanova Rud,
Scott Walker,
Tommy Roe,
The Barracudas,
The Monks,
The Knickerbockers,
The Leaves,
Jandek,
Sonic Youth,
A Flock of Seagulls,
Sarah Menescal,
Jeff Lynne,
Glambeats Corp.,
Marshall Jefferson,
Davy DMX,
Red Lorry Yellow Lorry,
Duran Duran,
the Sonics,
Sad Lovers and Giants,
Suburban Knight,
Deepchord,
kango's stein massive,
Juan Atkins,
Lou Reed,
Barbara Tucker,
The Techniques,
The Vogues,
The Happenings,
Hasil Adkins,
the Human League,
48th St. Collective,
Absolute Body Control,
Monolake,
Sunsets and Hearts,
The Gun Club,
Colin Newman,
Buzzcocks,
Todd Rundgren,
Lee Hazlewood,
Warren Ellis,
Ash Ra Tempel,
The Star Department,
Moebius,
Tom Boy,
Oneida,
Bootsy Collins, Bootsy Collins, Bootsy Collins, Bootsy Collins.
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.