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 Burundi and from Salvador.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Woodstock and Manchester.
I'm losing my edge to the art-school Hong Kong 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Agent Orange to the electroclash kids.
I played it at Cafe Wha.
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 Niagra. All the underground hits.
All Idris Muhammad tracks. I heard you have a vinyl of every A Flock of Seagulls 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 '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Country Joe & The Fish record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Order,
The Selecter,
The Victims,
Nirvana,
Kevin Saunderson,
James Chance & The Contortions,
Angels of Light & Akron/Family,
Underground Resistance,
Neu!,
Pussy Galore,
Con Funk Shun,
the Soft Cell,
Glambeats Corp.,
Al Stewart,
The Fall,
Harmonia,
Amon Düül II,
Deutsch Amerikanische Freundschaft,
Slick Rick,
Accadde A,
Sexual Harrassment,
The Pop Group,
Lou Reed & John Cale,
Dual Sessions,
Isaac Hayes,
B.T. Express,
The Associates,
Easy Going,
Judy Mowatt,
Bill Near,
Dennis Brown,
The Durutti Column,
The Move,
Roxy Music,
Red Lorry Yellow Lorry,
Davy DMX,
Sonic Youth,
H. Thieme,
Gil Scott Heron,
Organ,
Half Japanese,
Country Joe & The Fish,
Goldenarms,
John Lydon,
Carl Craig,
Los Fastidios,
The Pretty Things,
Symarip,
The Dead C,
Gastr Del Sol,
The Doors,
Donald Byrd,
Skaos,
Flash Fearless,
Mars,
Freddie Wadling,
Matthew Halsall,
Stereo Dub,
Amon Düül,
The West Coast Pop Art Experimental Band,
KRS-One,
Colin Newman,
Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe.
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.