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 Rwanda and from Spokane.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Lille and Johannesburg.
I'm losing my edge to the art-school Woodstock 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the guitar sounds with much patience.
I was there when Captain Beefheart 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 Gichy Dan to the dance kids.
I played it at Cafe Wha.
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 June Days. All the underground hits.
All The Cramps tracks. I heard you have a vinyl of every Louis and Bebe Barron 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 marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Arcadia record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faraquet,
Flamin' Groovies,
Anthony Braxton,
Technova,
Derrick May,
Minny Pops,
Marine Girls,
Magazine,
The Pop Group,
The Standells,
The Leaves,
Selector Dub Narcotic,
Cabaret Voltaire,
Kango’s Stein Massive,
The Dirtbombs,
Drexciya,
Big Daddy Kane,
Blossom Toes,
The Fall,
Jawbox,
Lou Reed,
The Barracudas,
Amon Düül II,
Charles Mingus,
The Moleskins,
Marc Almond,
Eurythmics,
Schoolly D,
Porter Ricks,
Jesper Dahlback,
Motorama,
X-102,
the Soft Cell,
David Bowie,
Roy Ayers Ubiquity,
Sparks,
Half Japanese,
Louis and Bebe Barron,
Underground Resistance,
Ponytail,
Mantronix,
Eve St. Jones,
Altered Images,
The Human League,
David Axelrod,
Pantaleimon,
Colin Newman,
Chrome,
Stetsasonic,
Harmonia,
Ice-T,
Al Stewart,
The Busters,
Richard Hell and the Voidoids,
Lee Hazlewood,
Little Man,
Babytalk,
Toni Rubio,
London Community Gospel Choir,
the Normal,
Main Source,
Isaac Hayes,
Ronan,
Country Teasers, Country Teasers, Country Teasers, Country Teasers.
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.