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 Kiribati and from Tehran.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Jakarta and Cairo.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the synthesizer 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 Sound Behaviour to the electroclash kids.
I played it at the Roxy.
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 Barclay James Harvest. All the underground hits.
All Country Joe & The Fish tracks. I heard you have a vinyl of every Echo & the Bunnymen record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Con Funk Shun record.
I hear that you and your band have sold your güiro and bought a theremin.
I hear that you and your band have sold your theremin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Victims,
Kevin Saunderson,
The Walker Brothers,
Procol Harum,
Crispian St. Peters,
Bill Wells,
Jesper Dahlbäck,
James White and The Blacks,
MC5,
Orchestral Manoeuvres in the Dark,
Rekid,
Johnny Clarke,
Johnny Osbourne,
The Sisters of Mercy,
F. McDonald,
Dark Day,
Wolf Eyes,
Lucky Dragons,
Richard Hell and the Voidoids,
Tommy Roe,
Y Pants,
Kings Of Tomorrow,
Basic Channel,
the Fania All-Stars,
The Durutti Column,
Hoover,
Kas Product,
Kurtis Blow,
Sam Rivers,
Bush Tetras,
Thee Headcoats,
Lou Christie,
Joensuu 1685,
Rufus Thomas,
The Cosmic Jokers,
Sun Ra Arkestra,
The Litter,
Crooked Eye,
Barry Ungar,
Vainqueur,
Kango’s Stein Massive,
The Fugs,
Jeff Mills,
The Saints,
The Gap Band,
John Lydon,
Severed Heads,
Los Fastidios,
Skarface,
Stockholm Monsters,
It's A Beautiful Day,
Girls At Our Best!,
Lyres,
Black Sheep,
Echo & the Bunnymen,
Lower 48,
Nation of Ulysses,
Gil Scott Heron,
Masters at Work,
Dead Boys,
Bad Manners,
Peter and Kerry,
Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx.
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.