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 Lebanon and from Manchester.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Columbus.
I'm losing my edge to the art-school Bremen 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 Captain Beefheart 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 T. Rex to the grime kids.
I played it at the Spitz.
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 The Durutti Column. All the underground hits.
All The Birthday Party tracks. I heard you have a vinyl of every The Move 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 '50s cut and another box set from the '70s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ten City,
Kayak,
In Retrospect,
Fela Kuti,
Kenny Larkin,
Crooked Eye,
Laurel Aitken,
Barrington Levy,
Arab on Radar,
Joyce Sims,
Main Source,
Aswad,
Sticky Fingaz feat. Raekwon,
Kevin Saunderson,
The Residents,
Country Joe & The Fish,
Urselle,
U.S. Maple,
Dead Boys,
Rhythm & Sound,
Ituana,
Peter Gordon & Love of Life Orchestra,
Flipper,
Pantytec,
Tom Boy,
Surgeon,
Deadbeat,
Sun City Girls,
Visionaries,LMNO, T- Love & Iriscience,
Crime,
June Days,
Black Moon,
Soft Cell,
Davy DMX,
Lee Hazlewood,
Archie Shepp,
Q65,
Warsaw,
Funkadelic,
Yellowson,
The Flesh Eaters,
Roy Ayers Ubiquity,
The Remains,
Stetsasonic,
Qualms,
Barclay James Harvest,
the Association,
The New Christs,
Black Sheep,
Ultravox,
Tropical Tobacco,
Hot Snakes,
Curtis Mayfield,
The Grass Roots,
David McCallum,
Sällskapet,
Roxette,
Los Fastidios,
Bill Wells,
Unrelated Segments,
The Standells, The Standells, The Standells, The Standells.
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.