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 Bulgaria and from Stockholm.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Halifax and Mumbai.
I'm losing my edge to the art-school Accra 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the oboe 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 Buzzcocks to the rock kids.
I played it at the 40 Watt.
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 Albert Ayler. All the underground hits.
All The Standells tracks. I heard you have a vinyl of every MC5 record on German import.
I heard that you have a white label of every seminal punk 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 spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Grey Daturas record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vaughan Mason & Crew,
Hasil Adkins,
Drexciya,
The Moody Blues,
Nas,
JFA,
Subhumans,
Lightning Bolt,
Kerri Chandler,
Pierre Henry,
Swans,
John Holt,
Curtis Mayfield,
Terrestrial Tones,
Grey Daturas,
Ornette Coleman,
Royal Trux,
Faust,
Los Fastidios,
Lou Reed & John Cale,
Rhythm & Sound,
Television,
Eve St. Jones,
48th St. Collective,
Tim Buckley,
The Doobie Brothers,
Masters at Work,
Cal Tjader,
The Slits,
Carl Craig,
Angry Samoans,
The Knickerbockers,
Surgeon,
Marc Romboy vs. Booka Shade,
Sly & The Family Stone,
The Vogues,
Radiohead,
Symarip,
Minor Threat,
Stereo Dub,
Livin' Joy,
Underground Resistance,
Sandy B,
The Standells,
The Residents,
Todd Terry,
Rahsaan Roland Kirk,
Donny Hathaway,
Tubeway Army,
The Barracudas,
Pantytec,
Mandrill,
Scrapy,
Yellowson,
Nirvana,
Charles Mingus,
Arab on Radar,
Glambeats Corp.,
Pharaoh Sanders and the Fire Engines,
the Germs,
A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls.
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.