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 Barbados and from London.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Delhi and Shanghai.
I'm losing my edge to the art-school Philadelphia 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 linndrum sounds with much patience.
I was there when Donald Fagen 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 Reuben Wilson to the funk kids.
I played it at Trash.
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 Leonard Cohen. All the underground hits.
All Circle Jerks tracks. I heard you have a vinyl of every Suburban Knight record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skriet,
The Gun Club,
Con Funk Shun,
Sexual Harrassment,
The Detroit Cobras,
Reagan Youth,
Pylon,
Tears for Fears,
Chris & Cosey,
Liliput,
Todd Terry,
Marmalade,
The Peanut Butter Conspiracy,
The Searchers,
Lou Reed,
Hashim,
Alison Limerick,
Scrapy,
Don Cherry,
the Bar-Kays,
The Raincoats,
Gang Gang Dance,
Bob Dylan,
The Slackers,
This Heat,
Morten Harket,
Scientists,
Royal Trux,
The Pop Group,
Deepchord,
Funkadelic,
Davy DMX,
Bootsy Collins,
Terry Callier,
Eden Ahbez,
Massinfluence,
Ken Boothe,
Urselle,
Gabor Szabo,
Technova,
The Gladiators,
Vladislav Delay,
The Smoke,
A Certain Ratio,
The Names,
B.T. Express,
Kevin Saunderson,
The Victims,
Ultramagnetic MC's,
Matthew Halsall,
Deakin,
The Motions,
MC5,
The Litter,
Magazine,
The Mummies,
Eric Copeland,
The Electric Prunes,
Suburban Knight,
The Sound,
Roger Hodgson,
Warren Ellis, Warren Ellis, Warren Ellis, Warren Ellis.
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.