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 Colombia and from Lyon.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and New York.
I'm losing my edge to the art-school Manchester 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 1971 at the first Big Star practice in a loft in Memphis.
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 Wire to the rap kids.
I played it at the Crocodile.
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 Tim Buckley. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Excepter record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Simply Red record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Albert Ayler,
Dead Boys,
Henry Cow,
The Victims,
Ultra Naté,
Japan,
The Chocolate Watch Band,
Lungfish,
Ohio Players,
Underground Resistance,
Wally Richardson,
Scott Walker,
Faraquet,
T.S.O.L.,
The United States of America,
Minny Pops,
Animal Collective,
Second Layer,
Severed Heads,
Pole,
Masters at Work,
Bootsy's Rubber Band,
Flash Fearless,
The Golliwogs,
Mission of Burma,
Marine Girls,
Das Ding,
The Shadows of Knight,
Laurel Aitken,
Anthony Braxton,
The Sisters of Mercy,
Lyres,
Liaisons Dangereuses,
The Raincoats,
Kerri Chandler,
X-101,
Louis and Bebe Barron,
The Fall,
Harry Pussy,
Andrew Hill,
Nick Cave & The Bad Seeds,
Half Japanese,
Aaron Thompson,
The Remains,
The Litter,
Yaz,
10cc,
Hasil Adkins,
Deakin,
Absolute Body Control,
The Slits,
Deepchord,
The Royal Family And The Poor,
Idris Muhammad,
OOIOO,
Strawberry Alarm Clock,
Skarface,
Swell Maps,
Avey Tare's Slasher Flicks,
Jeff Mills,
Peter & Gordon,
Kauko Röyhkä ja Narttu,
Bad Manners, Bad Manners, Bad Manners, Bad Manners.
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.