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 Equatorial Guinea and from Johannesburg.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1967 to 1978.
I'm losing my edge.
To all the kids in New York and Manchester.
I'm losing my edge to the art-school Johannesburg 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 808 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 the Soft Cell to the rock 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 Scrapy. All the underground hits.
All Royal Trux tracks. I heard you have a vinyl of every Manfred Mann's Earth Band 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 '50s cut and another box set from the '70s.
I hear you're buying a guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlback record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultra Naté,
Letta Mbulu,
MC5,
Half Japanese,
Sight & Sound,
Delta 5,
Cecil Taylor,
Ronan,
Isaac Hayes,
a-ha,
Ossler,
Absolute Body Control,
Cymande,
Nick Fraelich,
Audionom,
Scrapy,
Sparks,
Drive Like Jehu,
Gang Green,
Black Flag,
Eve St. Jones,
The Gladiators,
Jerry's Kids,
Surgeon,
Darondo,
Sandy B,
Andrew Ashong & Theo Parrish,
Oppenheimer Analysis,
Aloha Tigers,
Josef K,
Lebanon Hanover,
The Cramps,
Joe Finger,
Organ,
Arthur Verocai,
Maurizio,
Tim Buckley,
Talk Talk,
Royal Trux,
The Doobie Brothers,
Goldenarms,
Pharaoh Sanders and the Fire Engines,
The Doors,
Lucky Dragons,
Juan Atkins,
The Happenings,
Sarah Menescal,
Frankie Knuckles,
Amon Düül,
Sun Ra Arkestra,
Red Lorry Yellow Lorry,
Zapp,
Wighnomy Brothers & Robag Wruhme,
Gong,
Fad Gadget,
Sex Pistols,
Eyeless In Gaza,
Girls At Our Best!,
Warren Ellis,
Motorama,
Outsiders,
The Sisters of Mercy,
Pet Shop Boys, Pet Shop Boys, Pet Shop Boys, Pet Shop Boys.
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.