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 Brunei and from Bremen.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Manchester and Madrid.
I'm losing my edge to the art-school Halifax 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the sitar 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 Ajijia Myrayebe to the rock kids.
I played it at the Troubador.
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 Bootsy's Rubber Band. All the underground hits.
All MDC tracks. I heard you have a vinyl of every June of 44 record on German import.
I heard that you have a white label of every seminal punk 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 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Agent Orange record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David McCallum,
Nick Cave & The Bad Seeds,
Icehouse,
EPMD,
Symarip,
Soft Machine,
Al Stewart,
Ultravox,
Gil Scott-Heron and Jamie xx,
Pantytec,
Don Cherry,
Sun Ra,
Wolf Eyes,
Stereo Dub,
Barbara Tucker,
Urselle,
Popol Vuh,
Cheater Slicks,
The Five Americans,
Swans,
The Flesh Eaters,
Stetsasonic,
Roy Ayers,
The Shadows of Knight,
Bang On A Can,
H. Thieme,
Matthew Bourne,
Jeff Lynne,
Patti Smith,
Deakin,
Das Ding,
Joe Smooth,
The Searchers,
Dark Day,
Althea and Donna,
John Coltrane,
Angels of Light & Akron/Family,
Goldenarms,
Gary Puckett & The Union Gap,
The Sound,
The Saints,
Lizzy Mercier Descloux,
John Lydon,
Delta 5,
Model 500,
Interpol,
CMW,
Half Japanese,
Eric B and Rakim,
Derrick May,
Steve Hackett,
Aswad,
ABC,
MC5,
Eric Copeland,
Sunsets and Hearts,
Joey Negro,
New Order,
Yazoo,
Rakim,
The Grass Roots,
The Beau Brummels,
Mary Jane Girls,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.