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 Moldova and from Glasgow.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Tokyo and Lille.
I'm losing my edge to the art-school Manila 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 güiro 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 Scion to the jazz 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 the Slits. All the underground hits.
All Public Enemy tracks. I heard you have a vinyl of every Mandrill 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 '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your snare and bought a 808.
I hear that you and your band have sold your 808 and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Traffic Nightmare,
Crash Course in Science,
Wire,
The Walker Brothers,
The Wake,
Lindisfarne,
Stockholm Monsters,
Avey Tare's Slasher Flicks,
Ultimate Spinach,
Radiopuhelimet,
The Raincoats,
Parry Music,
Peter and Kerry,
The Cowsills,
the Association,
Underground Resistance,
Johnny Osbourne,
Unwound,
Boogie Down Productions,
Mantronix,
FM Einheit,
Ludus,
Notorious BIG live in Amsterdam,
Matthew Bourne,
The Blues Magoos,
Fatback Band,
Toni Rubio,
The Kinks,
Moss Icon,
X-Ray Spex,
Delon & Dalcan,
Vainqueur,
Sly & The Family Stone,
Cabaret Voltaire,
Gichy Dan,
Nation of Ulysses,
Goldenarms,
Accadde A,
Patti Smith,
Country Joe & The Fish,
Ossler,
Jerry's Kids,
Strawberry Alarm Clock,
Matthew Halsall,
AZ,
The Electric Prunes,
The Zeros,
Dark Day,
Maleditus Sound,
Bootsy Collins,
Rhythm & Sound,
The Slackers,
Jacques Brel,
Frankie Knuckles,
Joensuu 1685,
Franke,
Thee Headcoats,
Electric Light Orchestra,
The Offenders,
Quando Quango,
The Chocolate Watch Band,
The Martian, The Martian, The Martian, The Martian.
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.