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 Micronesia and from Stockholm.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Paris and Delhi.
I'm losing my edge to the art-school Lille 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 guitar sounds with much patience.
I was there when Michael McDonald 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 Andrew Ashong & Theo Parrish to the disco kids.
I played it at the Hacienda.
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 Neu!. All the underground hits.
All Lou Reed & John Cale tracks. I heard you have a vinyl of every Shuggie Otis record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad record.
I hear that you and your band have sold your clarinet and bought a snare.
I hear that you and your band have sold your snare and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wire,
Oppenheimer Analysis,
Barrington Levy,
Oneida,
Hardrive,
Fad Gadget,
ABC,
Talk Talk,
London Community Gospel Choir,
The Five Americans,
UT,
H. Thieme,
The Jesus and Mary Chain,
X-101,
Minny Pops,
Electric Light Orchestra,
A Certain Ratio,
Scan 7,
Schoolly D,
Sällskapet,
Gil Scott Heron,
Eyeless In Gaza,
The J.B.'s,
Kurtis Blow,
The Pretty Things,
Bill Near,
Neu!,
Moebius,
Heaven 17,
ABBA,
Erykah Badu,
Bizarre Inc.,
The Modern Lovers,
Super Lover Cee & Casanova Rud,
Kool G Rap & DJ Polo,
Blake Baxter,
The Slackers,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
John Cale,
Rahsaan Roland Kirk,
DJ Style,
Stetsasonic,
Jawbox,
Lonnie Liston Smith,
Davy DMX,
Roxy Music,
X-Ray Spex,
Black Pus,
James Chance & The Contortions,
Richard Hell and the Voidoids,
The Electric Prunes,
Model 500,
Vainqueur,
Traffic Nightmare,
Section 25,
Tropical Tobacco,
It's A Beautiful Day,
Youth Brigade,
Connie Case,
Grandmaster Flash,
Los Fastidios,
Jeff Lynne,
Country Teasers,
John Holt,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.