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 Glasgow.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Manila and Beijing.
I'm losing my edge to the art-school Stockholm 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 mellotron sounds with much patience.
I was there when Lou Reed 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 John Cale to the jazz kids.
I played it at the Spitz.
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 Graham Central Station. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every The Walker Brothers record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Toasters,
U.S. Maple,
Stereo Dub,
ABC,
Girls At Our Best!,
Arcadia,
The West Coast Pop Art Experimental Band,
Hardrive,
Reuben Wilson,
Camron Feat. Memphis Bleek And Beenie Seigel,
John Lydon,
Spoonie Gee,
Amon Düül II,
Flamin' Groovies,
Godley & Creme,
Harpers Bizarre,
Franke,
Aloha Tigers,
Duran Duran,
Parry Music,
Ohio Players,
The Names,
Anthony Braxton,
Red Lorry Yellow Lorry,
Sun Ra,
Big Daddy Kane,
Skaos,
Roger Hodgson,
Radiopuhelimet,
Eric B and Rakim,
Bootsy Collins,
Brand Nubian,
Scott Walker,
Thee Headcoats,
Mad Mike,
Niagra,
The Divine Comedy,
June of 44,
Suburban Knight,
Ten City,
T. Rex,
The Standells,
Scan 7,
Lightning Bolt,
Fear,
Marmalade,
Ponytail,
Animal Collective,
The Barracudas,
The Invisible,
Lalann,
Ronnie Foster,
Sugar Minott,
Peter and Kerry,
The Birthday Party,
Cal Tjader,
The Moleskins,
The Human League,
Shuggie Otis,
Stiv Bators,
Derrick May,
The Cure,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.