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 Kiribati and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Columbus and Tehran.
I'm losing my edge to the art-school London 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 theremin 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 Ossler to the rock 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 Loose Ends. All the underground hits.
All Boz Scaggs tracks. I heard you have a vinyl of every Skarface record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Intrusion record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joensuu 1685,
cv313,
The Monochrome Set,
Jawbox,
Boogie Down Productions,
Suburban Knight,
R.M.O.,
Lee Hazlewood,
Sarah Menescal,
Scan 7,
Lonnie Liston Smith,
Glambeats Corp.,
The Gap Band,
The West Coast Pop Art Experimental Band,
The Toasters,
Barry Ungar,
Bad Manners,
The Cowsills,
Gary Puckett & The Union Gap,
Cameo,
Ash Ra Tempel,
Pagans,
Marmalade,
Boredoms,
Rhythim Is Rhythim,
the Swans,
Shuggie Otis,
Guru Guru,
Alphaville,
Black Moon,
Strawberry Alarm Clock,
Monolake,
Tim Buckley,
Joyce Sims,
Pharaoh Sanders and the Fire Engines,
Brick,
Tom Boy,
Au Pairs,
Radio Birdman,
Mo-Dettes,
Barrington Levy,
ABC,
Minny Pops,
UT,
Jesper Dahlbäck,
Lou Reed & Metallica,
Magazine,
The Pop Group,
Traffic Nightmare,
Angels of Light & Akron/Family,
Mandrill,
Gian Franco Pienzio,
Roxy Music,
Bush Tetras,
Marshall Jefferson,
Goldenarms,
The Young Rascals,
Graham Central Station,
Agent Orange,
Fugazi,
Bootsy's Rubber Band,
Eddi Front, Eddi Front, Eddi Front, Eddi Front.
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.