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 Estonia and from Columbus.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1963 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Winnipeg.
I'm losing my edge to the art-school Calgary 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 spring reverb 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 Bang On A Can to the grime kids.
I played it at the Astoria.
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 Barry Ungar. All the underground hits.
All Joe Finger tracks. I heard you have a vinyl of every Ludus record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fire Engines,
Echo & the Bunnymen,
Suicide,
Desert Stars,
The Smoke,
Barbara Tucker,
The Five Americans,
Fad Gadget,
Cymande,
Section 25,
Bill Near,
Connie Case,
Grandmaster Flash,
Rites of Spring,
Eyeless In Gaza,
MDC,
Flash Fearless,
Reagan Youth,
Kool Moe Dee,
Reuben Wilson,
Pantytec,
Dorothy Ashby,
Bad Manners,
The Seeds,
The Slackers,
Nico,
Royal Trux,
Minnie Riperton,
Kerrie Biddell,
Funky Four + One,
Fugazi,
The Count Five,
Ultra Naté,
Whodini,
The Monks,
Sister Nancy,
Crash Course in Science,
Index,
Electric Prunes,
The Selecter,
EPMD,
Terry Callier,
Groovy Waters,
Swans,
Neil Young,
Main Source,
John Lydon,
Pole,
Deepchord,
Arab on Radar,
Lalann,
The Busters,
Livin' Joy,
Flipper,
Soft Machine,
Eric Copeland,
Cabaret Voltaire,
Pylon,
Slave,
Pussy Galore,
The Jesus and Mary Chain,
Justin Hinds & The Dominoes, Justin Hinds & The Dominoes, Justin Hinds & The Dominoes, Justin Hinds & The Dominoes.
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.