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 Serbia and from Madrid.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Houston and Woodstock.
I'm losing my edge to the art-school Toronto 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 1984 at the first Arcadia practice in a loft in London.
I was working on the oboe sounds with much patience.
I was there when Lou Reed 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 Richard Hell and the Voidoids to the techno kids.
I played it at the Astoria.
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 Bobby Hutcherson. All the underground hits.
All The Cramps tracks. I heard you have a vinyl of every Lower 48 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 sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Sonny Sharrock record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba 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?
Alphaville,
the Fania All-Stars,
Bootsy's Rubber Band,
DJ Style,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Last Poets,
ABBA,
Deutsch Amerikanische Freundschaft,
Amon Düül II,
DJ Sneak,
The Red Krayola,
Hasil Adkins,
Siouxsie and the Banshees,
The American Breed,
Nik Kershaw,
Ronan,
The Searchers,
Bobby Sherman,
The Cowsills,
Pere Ubu,
Clear Light,
Das Ding,
Subhumans,
Idris Muhammad,
Visage,
X-102,
Lower 48,
Rahsaan Roland Kirk,
the Germs,
Kevin Saunderson,
Negative Approach,
Mars,
Throbbing Gristle,
Ajijia Myrayebe,
Rotary Connection,
The Star Department,
Robert Wyatt,
Unwound,
Smog,
Eve St. Jones,
Jacob Miller,
John Holt,
Wally Richardson,
Pet Shop Boys,
Country Joe & The Fish,
Electric Light Orchestra,
The Toasters,
Sound Behaviour,
Lee Hazlewood,
The Busters,
Bobbi Humphrey,
Franke,
The Fall,
Malaria!,
Crime,
Grauzone,
Buzzcocks,
Wire,
DeepChord presents Echospace,
The Techniques,
Bobby Byrd, Bobby Byrd, Bobby Byrd, Bobby Byrd.
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.