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 Netherlands and from Lyon.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1979.
I'm losing my edge.
To all the kids in Hong Kong and Lille.
I'm losing my edge to the art-school Halifax 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 güiro sounds with much patience.
I was there when Tom Verlaine 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 Matthew Bourne to the punk kids.
I played it at the Crocodile.
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 MDC. All the underground hits.
All The Move tracks. I heard you have a vinyl of every Deakin record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Bizarre Inc. record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Popol Vuh,
Subhumans,
Terry Callier,
Average White Band,
Jeff Mills,
Sunsets and Hearts,
10cc,
The Young Rascals,
Brick,
Rowland S Howard / Lydia Lunch,
the Bar-Kays,
Hasil Adkins,
Sister Nancy,
The Fortunes,
Brothers Johnson,
Junior Murvin,
World's Most,
Ash Ra Tempel,
Underground Resistance,
Ultravox,
Easy Going,
Joensuu 1685,
the Sonics,
Lalo Schifrin,
Supertramp,
Aaron Thompson,
Procol Harum,
Lindisfarne,
Fluxion,
The Vogues,
Al Stewart,
The Names,
Archie Shepp,
The Walker Brothers,
JFA,
Saccharine Trust,
Teenage Jesus and the Jerks,
The Golliwogs,
Cheater Slicks,
Das Ding,
Flash Fearless,
Max Romeo,
The West Coast Pop Art Experimental Band,
James White and The Blacks,
The Blackbyrds,
Icehouse,
Kango’s Stein Massive,
Charles Mingus,
Jawbox,
The Invisible,
Kool G Rap & DJ Polo,
Fifty Foot Hose,
Kings Of Tomorrow,
X-102,
The Jesus and Mary Chain,
David McCallum,
The Toasters,
Chris Corsano,
Darondo,
Davy DMX, Davy DMX, Davy DMX, Davy DMX.
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.