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 Barbados and from Johannesburg.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Cairo.
I'm losing my edge to the art-school Sao Paulo 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 1976 at the first Buzzcocks practice in a loft in Bolton.
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 Camouflage to the electroclash kids.
I played it at the 40 Watt.
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 Swell Maps. All the underground hits.
All Yellowson tracks. I heard you have a vinyl of every Sight & Sound record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maurizio,
AZ,
Grauzone,
Procol Harum,
Pole,
Albert Ayler,
Dorothy Ashby,
Mark Hollis,
Susan Cadogan,
The Young Rascals,
Warren Ellis,
The Names,
The Star Department,
Amon Düül II,
Eric Copeland,
Siouxsie and the Banshees,
Eli Mardock,
Unrelated Segments,
June of 44,
Charles Mingus,
Das Ding,
Bill Near,
F. McDonald,
Los Fastidios,
The Fuzztones,
Peter Gordon & Love of Life Orchestra,
The Men They Couldn't Hang,
Eric Dolphy,
Vainqueur,
Orchestral Manoeuvres in the Dark,
Swell Maps,
Lonnie Liston Smith,
the Slits,
Notorious BIG live in Amsterdam,
Fad Gadget,
Erykah Badu,
Soul II Soul,
Jandek,
John Lydon,
Idris Muhammad,
The Cramps,
Monks,
Joey Negro,
Man Parrish,
Khruangbin,
The Barracudas,
Joy Division,
Agitation Free,
K-Klass,
LL Cool J,
Lalo Schifrin,
Kings Of Tomorrow,
The Monochrome Set,
the Association,
Sight & Sound,
The Fugs,
It's A Beautiful Day,
X-102,
The Five Americans,
Mandrill,
Deakin, Deakin, Deakin, Deakin.
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.