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 Mongolia and from Copenhagen.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Glasgow.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the arpeggiator 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 Second Layer to the rock kids.
I played it at the Troubador.
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 Throbbing Gristle. All the underground hits.
All Japan tracks. I heard you have a vinyl of every The Fortunes record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a clarinet and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Little Man 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?
Barbara Tucker,
Throbbing Gristle,
The Buckinghams,
Crime,
Manfred Mann's Earth Band,
The Monochrome Set,
Skaos,
Young Marble Giants,
The Mojo Men,
Aural Exciters,
The Sisters of Mercy,
Black Flag,
The Leaves,
Excepter,
Terry Callier,
Marc Almond,
MC5,
Juan Atkins,
Electric Prunes,
Popol Vuh,
Simply Red,
The Techniques,
Big Daddy Kane,
Black Pus,
Hoover,
Theoretical Girls,
Soft Cell,
Traffic Nightmare,
The Zeros,
Josef K,
Masters at Work,
Rosa Yemen,
Arab on Radar,
the Soft Cell,
The Standells,
Massinfluence,
Von Mondo,
Mary Jane Girls,
Magazine,
Jeru the Damaja,
Kenny Larkin,
Camron Feat. Memphis Bleek And Beenie Seigel,
Basic Channel,
The Slackers,
Deakin,
Drive Like Jehu,
The Knickerbockers,
Skarface,
Radiohead,
Echospace,
Althea and Donna,
a-ha,
Sly & The Family Stone,
The Invisible,
Crispian St. Peters,
Kurtis Blow,
Derrick May,
The Move,
Bizarre Inc.,
The Fortunes,
The Gun Club,
Loose Ends,
Gang Starr, Gang Starr, Gang Starr, Gang Starr.
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.