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 Niger and from Bremen.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1965 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Manila.
I'm losing my edge to the art-school Beijing 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 chamberlin sounds with much patience.
I was there when Nile Rodgers 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 The Names to the crunk 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 Camberwell Now. All the underground hits.
All Bauhaus tracks. I heard you have a vinyl of every Jesper Dahlbäck record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül II,
Flipper,
Make Up,
The Moleskins,
Aswad,
The Alarm Clocks,
Siouxsie and the Banshees,
Roy Ayers,
Bootsy Collins,
Au Pairs,
Bobby Byrd,
The Knickerbockers,
Swell Maps,
Faraquet,
This Heat,
Scratch Acid,
Glenn Branca,
Siglo XX,
Max Romeo,
Pete Rock & C.L. Smooth,
Bob Dylan,
Vladislav Delay,
Index,
Cal Tjader,
Brass Construction,
Nation of Ulysses,
10cc,
Deepchord,
The Invisible,
James Chance & The Contortions,
Barry Ungar,
Sister Nancy,
Flamin' Groovies,
Dark Day,
Aaron Thompson,
Pharoah Sanders,
Reagan Youth,
Intrusion,
Cybotron,
Rekid,
Kings Of Tomorrow,
Johnny Clarke,
The Barracudas,
Von Mondo,
Gang Starr,
Lucky Dragons,
The Black Dice,
Strawberry Alarm Clock,
The Doobie Brothers,
The J.B.'s,
The Residents,
Barbara Tucker,
Matthew Bourne,
Lyres,
Porter Ricks,
Wasted Youth,
Lindisfarne,
the Slits,
48th St. Collective,
Angry Samoans,
Tubeway Army,
The Techniques, The Techniques, The Techniques, The Techniques.
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.