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 Bangladesh and from Seoul.
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 1970.
I'm losing my edge.
To all the kids in Houston and Columbus.
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 arpeggiator 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 Camron Feat. Jay Z And Juelz to the punk 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 The Alarm Clocks. All the underground hits.
All Severed Heads tracks. I heard you have a vinyl of every Joe Smooth 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 '50s cut and another box set from the '70s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Robert Hood 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?
The Names,
Scott Walker,
Fugazi,
Scan 7,
Johnny Osbourne,
Anakelly,
Peter and Kerry,
The Blues Magoos,
Juan Atkins,
Alphaville,
Gastr Del Sol,
The Misunderstood,
Arthur Verocai,
The Martian,
The Count Five,
Silicon Teens,
The Five Americans,
Delon & Dalcan,
Loose Ends,
The Standells,
Intrusion,
Jandek,
The New Christs,
Rowland S Howard / Lydia Lunch,
Cecil Taylor,
Monks,
kango's stein massive,
Eve St. Jones,
Spandau Ballet,
Lalo Schifrin,
MC5,
Darondo,
The West Coast Pop Art Experimental Band,
R.M.O.,
Suicide,
Soft Machine,
Rufus Thomas,
Schoolly D,
The Fuzztones,
The Skatalites,
Groovy Waters,
The Monks,
Camouflage,
Barbara Tucker,
Massinfluence,
Circle Jerks,
Scratch Acid,
Crooked Eye,
Neu!,
The Toasters,
Pete Rock & C.L. Smooth,
The Moleskins,
Oppenheimer Analysis,
Jerry's Kids,
Drive Like Jehu,
Bobbi Humphrey,
Richard Hell and the Voidoids,
Brick,
Terry Callier,
The Zeros, The Zeros, The Zeros, The Zeros.
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.