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 Macedonia and from Lille.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Paris and Beijing.
I'm losing my edge to the art-school Cairo 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the mellotron sounds with much patience.
I was there when Captain Beefheart 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 The Dirtbombs 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 Soft Machine. All the underground hits.
All Gerry Rafferty tracks. I heard you have a vinyl of every Harmonia 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 '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Dirtbombs record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marine Girls,
Graham Central Station,
Robert Hood,
Urselle,
Warren Ellis,
Jacob Miller,
Crooked Eye,
Jacques Brel,
Qualms,
Slave,
Heaven 17,
Letta Mbulu,
Excepter,
The Fall,
Roxy Music,
Accadde A,
Television,
The Five Americans,
Wolf Eyes,
Beasts of Bourbon,
Moss Icon,
The Durutti Column,
Yusef Lateef,
Girls At Our Best!,
Richard Hell and the Voidoids,
Rhythm & Sound,
Motorama,
Television Personalities,
The Peanut Butter Conspiracy,
Siouxsie and the Banshees,
Curtis Mayfield,
Faust,
Au Pairs,
the Germs,
Super Lover Cee & Casanova Rud,
Derrick May,
Tim Buckley,
Con Funk Shun,
The Real Kids,
Camouflage,
Ken Boothe,
Liliput,
Spoonie Gee,
Bluetip,
Cabaret Voltaire,
Eden Ahbez,
Swans,
Boredoms,
Bobby Hutcherson,
Frankie Knuckles,
The Detroit Cobras,
Pharaoh Sanders and the Fire Engines,
The Fortunes,
Visage,
Ajijia Myrayebe,
Rahsaan Roland Kirk,
Cluster,
Buzzcocks,
Byron Stingily,
OOIOO,
Sun Ra Arkestra,
Camberwell Now,
Albert Ayler, Albert Ayler, Albert Ayler, Albert Ayler.
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.