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 Monaco and from Delhi.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Manchester.
I'm losing my edge to the art-school Lagos 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 arpeggiator 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 Second Layer to the disco 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 Crime. All the underground hits.
All Cluster tracks. I heard you have a vinyl of every Richard Hell and the Voidoids record on German import.
I heard that you have a white label of every seminal jazz 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 linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Spoonie Gee record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anthony Braxton,
The Divine Comedy,
Flipper,
the Human League,
Delta 5,
Soulsonic Force,
Aloha Tigers,
Black Pus,
Kango’s Stein Massive,
Skaos,
The Leaves,
Oblivians,
Marine Girls,
The Gladiators,
Sexual Harrassment,
Lalann,
Audionom,
The Stooges,
Terrestrial Tones,
Marcia Griffiths,
Black Bananas,
Crispian St. Peters,
The Moody Blues,
Reagan Youth,
Eurythmics,
Electric Light Orchestra,
Duran Duran,
Hashim,
Cybotron,
Trumans Water,
Roger Hodgson,
Skarface,
Lalo Schifrin,
The Trojans,
Eve St. Jones,
Suicide,
Gang Starr,
Pantytec,
Country Joe & The Fish,
Joe Finger,
The Victims,
Alice Coltrane,
The Buckinghams,
Suburban Knight,
Sam Rivers,
the Sonics,
The Invisible,
The Barracudas,
Major Organ And The Adding Machine,
Archie Shepp,
The Vogues,
Brothers Johnson,
Lakeside,
Section 25,
Rakim,
Gang Gang Dance,
Dennis Brown,
Yellowson,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.