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 Uzbekistan and from Halifax.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Manchester and Taipei.
I'm losing my edge to the art-school Calgary 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 synthesizer 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 The Invisible 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 Ultimate Spinach. All the underground hits.
All Jawbox tracks. I heard you have a vinyl of every Maurizio record on German import.
I heard that you have a white label of every seminal funk 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 synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Light Orchestra,
The Electric Prunes,
The Associates,
Ludus,
Albert Ayler,
Lafayette Afro Rock Band,
One Last Wish,
Justin Hinds & The Dominoes,
Mr. Review,
The Searchers,
The Doors,
the Germs,
Scott Walker,
Panda Bear,
Visage,
Cabaret Voltaire,
Lee Hazlewood,
Jerry's Kids,
Rosa Yemen,
Idris Muhammad,
Pylon,
Underground Resistance,
Kurtis Blow,
Deepchord,
Model 500,
Loose Ends,
Super Lover Cee & Casanova Rud,
Gerry Rafferty,
Ultra Naté,
The Fall,
It's A Beautiful Day,
Sun Ra Arkestra,
B.T. Express,
Eddi Front,
Notorious Big And Bone Thugs,
Dual Sessions,
Funky Four + One,
Rites of Spring,
Skaos,
Tropical Tobacco,
Infiniti,
Siglo XX,
Outsiders,
Tim Buckley,
Kango’s Stein Massive,
The Human League,
The Modern Lovers,
8 Eyed Spy,
Cheater Slicks,
The New Christs,
Deadbeat,
Prince Buster,
Lou Reed,
Lakeside,
The Kinks,
Negative Approach,
The Gap Band,
The Mojo Men,
Quadrant,
Man Eating Sloth,
Flipper,
Derrick May, Derrick May, Derrick May, Derrick May.
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.