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 Tunisia and from Manchester.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Sao Paulo and London.
I'm losing my edge to the art-school Manchester 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 Nile Rodgers 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 Magma to the grunge 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 Echo & the Bunnymen. All the underground hits.
All The Fire Engines tracks. I heard you have a vinyl of every the Germs 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 '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Boz Scaggs record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Larry & the Blue Notes,
Alton Ellis,
Suburban Knight,
Orchestral Manoeuvres in the Dark,
The Music Machine,
Lee Hazlewood,
Sam Rivers,
Glambeats Corp.,
Arab on Radar,
Stockholm Monsters,
Deutsch Amerikanische Freundschaft,
Oneida,
The Sisters of Mercy,
Sparks,
A Certain Ratio,
Hot Snakes,
Crispy Ambulance,
Dawn Penn,
Hashim,
Lower 48,
Black Sheep,
Second Layer,
Young Marble Giants,
Bang on a Can All-Stars,
Rapeman,
L. Decosne,
Ludus,
Chrome,
The Dirtbombs,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Strawberry Alarm Clock,
The Skatalites,
the Soft Cell,
Deadbeat,
Easy Going,
Minutemen,
Sight & Sound,
Peter and Kerry,
Roger Hodgson,
the Slits,
The Real Kids,
Bootsy's Rubber Band,
The Associates,
Bauhaus,
Chris & Cosey,
Fugazi,
Harpers Bizarre,
Rowland S Howard / Lydia Lunch,
Glenn Branca,
Ice-T,
The Evens,
Von Mondo,
Johnny Clarke,
Bush Tetras,
The Gories,
The Cramps,
Whodini,
Warsaw,
AZ,
Brick,
Rotary Connection,
Groovy Waters, Groovy Waters, Groovy Waters, Groovy Waters.
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.