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 United Kingdom and from Tehran.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1970.
I'm losing my edge.
To all the kids in Johannesburg and Copenhagen.
I'm losing my edge to the art-school Tehran 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 spring reverb sounds with much patience.
I was there when Holger Czukay 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 Danielle Patucci to the punk kids.
I played it at the Hacienda.
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 Livin' Joy. All the underground hits.
All The Last Poets tracks. I heard you have a vinyl of every The Dirtbombs 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 '80s cut and another box set from the '80s.
I hear you're buying a güiro and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Television Personalities record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vainqueur,
X-101,
London Community Gospel Choir,
The Residents,
Peter & Gordon,
Outsiders,
Crispian St. Peters,
Gong,
The American Breed,
Barrington Levy,
Neu!,
Mark Hollis,
Erykah Badu,
The Divine Comedy,
Tom Boy,
Smog,
Throbbing Gristle,
DNA,
A Certain Ratio,
Goldenarms,
The Wake,
Ajijia Myrayebe,
Cheater Slicks,
Brick,
Oblivians,
Lou Reed,
Grey Daturas,
Glenn Branca,
The Monochrome Set,
Agitation Free,
Kaleidoscope,
Essential Logic,
The Kinks,
Archie Shepp,
Negative Approach,
Derrick Morgan,
Harpers Bizarre,
Drexciya,
Oppenheimer Analysis,
Mo-Dettes,
Lucky Dragons,
Dorothy Ashby,
Beasts of Bourbon,
Pharaoh Sanders and the Fire Engines,
Sex Pistols,
Ultimate Spinach,
The Shadows of Knight,
Khruangbin,
Steve Hackett,
Stereo Dub,
Masters at Work,
The Techniques,
Little Man,
Josef K,
Stetsasonic,
Gregory Isaacs,
John Coltrane,
The Golliwogs,
The Standells,
Gichy Dan,
Angry Samoans,
Sun City Girls,
Inner City,
Tommy Roe, Tommy Roe, Tommy Roe, Tommy Roe.
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.