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 Belarus and from Lille.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Delhi and Johannesburg.
I'm losing my edge to the art-school Delhi 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 harpsichord sounds with much patience.
I was there when Lou Reed 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 James White and The Blacks to the dance 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 The Durutti Column. All the underground hits.
All Silicon Teens tracks. I heard you have a vinyl of every Michelle Simonal record on German import.
I heard that you have a white label of every seminal rock 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 linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a X-102 record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flipper,
Big Daddy Kane,
Los Fastidios,
The Blackbyrds,
Notorious Big And Bone Thugs,
Mars,
Moebius,
Sun Ra,
David Bowie,
E-Dancer,
Bootsy Collins,
Gian Franco Pienzio,
The Toasters,
Wally Richardson,
Model 500,
Malaria!,
Magazine,
The Pop Group,
X-101,
Funkadelic,
Public Enemy,
The Kinks,
The Blues Magoos,
Hoover,
Godley & Creme,
Skarface,
Fluxion,
Fifty Foot Hose,
DJ Style,
The Vogues,
Altered Images,
The Pretty Things,
Johnny Osbourne,
Andrew Ashong & Theo Parrish,
Ultimate Spinach,
The Walker Brothers,
Toni Rubio,
The Fall,
Main Source,
Gang Gang Dance,
The New Christs,
Crime,
Lou Reed,
Electric Light Orchestra,
Second Layer,
Agent Orange,
Tomorrow,
The Electric Prunes,
K-Klass,
Mark Hollis,
Easy Going,
Peter and Kerry,
Camron Feat. Memphis Bleek And Beenie Seigel,
Dawn Penn,
Urselle,
Moss Icon,
The Chocolate Watch Band,
Average White Band,
The Gun Club,
Arab on Radar,
Sällskapet,
Marvin Gaye,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.