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 Andorra and from Johannesburg.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1971.
I'm losing my edge.
To all the kids in Spokane and Philadelphia.
I'm losing my edge to the art-school Tehran 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 David Bowie 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 Joyce Sims to the jazz 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 Marcia Griffiths. All the underground hits.
All Nico tracks. I heard you have a vinyl of every The Zeros record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Germs,
Liaisons Dangereuses,
The Pop Group,
Grandmaster Flash,
John Lydon,
Average White Band,
X-101,
The Angels of Light,
Sonic Youth,
Ultramagnetic MC's,
Silicon Teens,
Pantytec,
Shoche,
Joey Negro,
Lower 48,
Tomorrow,
Skriet,
Pussy Galore,
Visionaries,LMNO, T- Love & Iriscience,
Siglo XX,
The Men They Couldn't Hang,
Agitation Free,
Johnny Osbourne,
Michelle Simonal,
Bauhaus,
Flamin' Groovies,
The Music Machine,
Electric Prunes,
Gil Scott-Heron & Brian Jackson,
Big Daddy Kane,
Piero Umiliani,
Albert Ayler,
Avey Tare & Kría Brekkan,
Country Joe & The Fish,
Rakim,
Public Image Ltd.,
MDC,
The Young Rascals,
Angels of Light & Akron/Family,
Ash Ra Tempel,
Eden Ahbez,
Drive Like Jehu,
Gregory Isaacs,
Royal Trux,
The Buckinghams,
Gang of Four,
Henry Cow,
Lakeside,
The Electric Prunes,
Kenny Larkin,
Arcadia,
Lizzy Mercier Descloux,
Sonny Sharrock,
The Litter,
Mark Hollis,
Bobby Sherman,
Ponytail,
World's Most,
Barclay James Harvest,
Pylon,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.