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 Manila.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Portland and Manila.
I'm losing my edge to the art-school Lagos 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 1978 at the first Visage practice in a loft in London.
I was working on the spring reverb 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 Lonnie Liston Smith to the grunge 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 Connie Case. All the underground hits.
All Funkadelic tracks. I heard you have a vinyl of every Jawbox 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 '60s cut and another box set from the '80s.
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 Lightning Bolt record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Saccharine Trust,
The Dave Clark Five,
Supertramp,
The Grass Roots,
Major Organ And The Adding Machine,
Tears for Fears,
the Slits,
Ultra Naté,
Connie Case,
Crispy Ambulance,
The Stooges,
Mad Mike,
Unwound,
Desert Stars,
Tim Buckley,
Rakim,
Gang Starr,
The J.B.'s,
The Fire Engines,
Mandrill,
X-Ray Spex,
Glambeats Corp.,
Y Pants,
Delta 5,
The New Christs,
Warren Ellis,
The United States of America,
Kings Of Tomorrow,
Slick Rick,
Agitation Free,
Kenny Larkin,
Funkadelic,
Eyeless In Gaza,
The Pop Group,
Marine Girls,
The Flesh Eaters,
Mission of Burma,
Neil Young,
Jeff Mills,
Audionom,
The Gap Band,
10cc,
Heavy D & The Boyz,
Smog,
Beasts of Bourbon,
Althea and Donna,
CMW,
Interpol,
Davy DMX,
Robert Hood,
Bush Tetras,
Throbbing Gristle,
Tubeway Army,
The Alarm Clocks,
Ultramagnetic MC's,
Robert Görl,
Oneida,
The Smiths,
Gabor Szabo,
John Coltrane,
Pere Ubu,
Motorama,
Nation of Ulysses, Nation of Ulysses, Nation of Ulysses, Nation of Ulysses.
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.