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 Malawi and from Tokyo.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Edmonton and Copenhagen.
I'm losing my edge to the art-school Portland 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the chamberlin sounds with much patience.
I was there when Michael McDonald 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 Terrestrial Tones to the rock kids.
I played it at the Hacienda.
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 Loose Ends. All the underground hits.
All Jeru the Damaja tracks. I heard you have a vinyl of every Iggy Pop record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Count Five record.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sad Lovers and Giants,
Bobby Hutcherson,
Pierre Henry,
U.S. Maple,
Ohio Players,
Arab on Radar,
Rowland S Howard / Lydia Lunch,
Juan Atkins,
Siouxsie and the Banshees,
Grey Daturas,
Quando Quango,
Tommy Roe,
Junior Murvin,
Agent Orange,
The Searchers,
Public Enemy,
The Moleskins,
The Gories,
Vainqueur,
The Toasters,
Nick Fraelich,
John Coltrane,
DJ Sneak,
Graham Central Station,
Chrome,
Bob Dylan,
Swans,
The Move,
Ultravox,
Lou Reed,
Gian Franco Pienzio,
Gichy Dan,
Vaughan Mason & Crew,
Terror Squad Feat. Camron,
Joy Division,
Ajijia Myrayebe,
New Order,
The Last Poets,
The Zeros,
X-101,
Make Up,
Desert Stars,
Ronnie Foster,
Flipper,
Au Pairs,
Gil Scott-Heron and Jamie xx,
Negative Approach,
Simply Red,
Masters at Work,
Zapp,
Eve St. Jones,
Be Bop Deluxe,
Marshall Jefferson,
Section 25,
Excepter,
Mo-Dettes,
Black Bananas,
Absolute Body Control,
Grauzone,
The Velvet Underground,
Grandmaster Flash and the Furious Five,
Drexciya,
Wolf Eyes,
Barrington Levy, Barrington Levy, Barrington Levy, Barrington Levy.
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.