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 Thailand and from Taipei.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Shanghai and Shanghai.
I'm losing my edge to the art-school Bologna 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the güiro 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 Blake Baxter to the jazz kids.
I played it at the 40 Watt.
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 Masters at Work. All the underground hits.
All Morten Harket tracks. I heard you have a vinyl of every Lalo Schifrin 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 '90s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Smiths record.
I hear that you and your band have sold your clarinet and bought an organ.
I hear that you and your band have sold your organ and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Christie,
AZ,
E-Dancer,
Lightning Bolt,
Drive Like Jehu,
8 Eyed Spy,
Inner City,
Unrelated Segments,
Skarface,
The Victims,
Al Stewart,
Siglo XX,
T.S.O.L.,
Television Personalities,
Warren Ellis,
Massinfluence,
Organ,
Minor Threat,
The Selecter,
Tres Demented,
Smog,
Manfred Mann's Earth Band,
Electric Prunes,
Byron Stingily,
Ornette Coleman,
Grandmaster Flash and the Furious Five,
Blossom Toes,
Swell Maps,
Camberwell Now,
Jesper Dahlback,
Intrusion,
Half Japanese,
Au Pairs,
Yaz,
Rod Modell,
The Real Kids,
Bobbi Humphrey,
James Chance & The Contortions,
Infiniti,
Masters at Work,
Rahsaan Roland Kirk,
The Modern Lovers,
Bill Near,
Negative Approach,
the Germs,
Black Pus,
Moby Grape,
Newcleus,
The Mojo Men,
Monolake,
Barry Ungar,
Royal Trux,
Circle Jerks,
Thompson Twins,
X-102,
Scratch Acid,
Albert Ayler,
Simply Red,
Godley & Creme,
Echo & the Bunnymen,
Mandrill,
Model 500, Model 500, Model 500, Model 500.
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.