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 South Sudan and from Johannesburg.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Columbus.
I'm losing my edge to the art-school New York 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the snare sounds with much patience.
I was there when Holger Czukay 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 The Last Poets to the dance 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 Intrusion. All the underground hits.
All The Black Dice tracks. I heard you have a vinyl of every La Düsseldorf record on German import.
I heard that you have a white label of every seminal funk 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 clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron 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?
Infiniti,
The Black Dice,
Drexciya,
Minnie Riperton,
China Crisis,
Young Marble Giants,
John Foxx,
The Sound,
U.S. Maple,
The Knickerbockers,
Aswad,
The Gories,
Dave Gahan,
Cabaret Voltaire,
Lalann,
Rapeman,
Soulsonic Force,
Nation of Ulysses,
Monks,
Tim Buckley,
Bobbi Humphrey,
H. Thieme,
Notorious Big And Bone Thugs,
Ken Boothe,
The Grass Roots,
Minny Pops,
Quantec,
Heavy D & The Boyz,
Con Funk Shun,
K-Klass,
Fugazi,
Roger Hodgson,
Wire,
Gregory Isaacs,
Royal Trux,
T.S.O.L.,
Funkadelic,
Main Source,
Eric Copeland,
Louis and Bebe Barron,
Bang On A Can,
The Smiths,
Cluster,
Morten Harket,
Johnny Clarke,
Lungfish,
Lebanon Hanover,
Delta 5,
Vladislav Delay,
Monolake,
Bobby Byrd,
48th St. Collective,
Ten City,
Albert Ayler,
Tropical Tobacco,
Jeff Lynne,
Sixth Finger,
Clear Light,
Mars,
The Gun Club,
James Chance & The Contortions,
Glambeats Corp., Glambeats Corp., Glambeats Corp., Glambeats Corp..
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.