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 Liechtenstein 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 1962 to 1974.
I'm losing my edge.
To all the kids in Stockholm and New York.
I'm losing my edge to the art-school Seoul 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 oboe sounds with much patience.
I was there when David Bowie 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 Nick Cave & The Bad Seeds to the punk kids.
I played it at the Hacienda.
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 Ituana. All the underground hits.
All The Detroit Cobras tracks. I heard you have a vinyl of every Simply Red record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Marvin Gaye record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stetsasonic,
Hashim,
Country Teasers,
Louis and Bebe Barron,
John Holt,
Ituana,
Rekid,
DNA,
Beasts of Bourbon,
Anakelly,
The Remains,
Marine Girls,
David Axelrod,
Cecil Taylor,
Eric B and Rakim,
Pantytec,
The Raincoats,
Young Marble Giants,
Vaughan Mason & Crew,
World's Most,
Infiniti,
Boogie Down Productions,
Derrick Morgan,
U.S. Maple,
Soulsonic Force,
Flash Fearless,
Newcleus,
Patti Smith,
Ultramagnetic MC's,
Bobby Womack,
Matthew Halsall,
Scratch Acid,
Lee Hazlewood,
Connie Case,
David Bowie,
Youth Brigade,
8 Eyed Spy,
The Mojo Men,
Rosa Yemen,
Little Man,
Lou Reed & Metallica,
Bobbi Humphrey,
Von Mondo,
Chrome,
Deutsch Amerikanische Freundschaft,
The Red Krayola,
The Alarm Clocks,
The Modern Lovers,
Clear Light,
Dual Sessions,
Soft Cell,
Swell Maps,
Boredoms,
Barclay James Harvest,
Metal Thangz,
The Sound,
Prince Buster,
Q and Not U,
Colin Newman,
Janne Schatter,
Pierre Henry,
The Gladiators,
Minnie Riperton, Minnie Riperton, Minnie Riperton, Minnie Riperton.
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.