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 Mexico and from Tehran.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Shanghai and Lagos.
I'm losing my edge to the art-school Philadelphia 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 marimba sounds with much patience.
I was there when Michael McDonald 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 Neil Young to the electroclash 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 Echospace. All the underground hits.
All Rapeman tracks. I heard you have a vinyl of every Strawberry Alarm Clock record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Bizarre Inc. record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
Dark Day,
Magma,
Siouxsie and the Banshees,
The Divine Comedy,
John Lydon,
Bizarre Inc.,
Drive Like Jehu,
Sixth Finger,
Jeru the Damaja,
The Sound,
Marmalade,
Josef K,
Liliput,
Ultravox,
Terry Callier,
Lizzy Mercier Descloux,
Roy Ayers,
Hashim,
Mr. Review,
Lou Reed,
Pole,
The Leaves,
Roy Ayers Ubiquity,
Richard Hell and the Voidoids,
Oppenheimer Analysis,
H. Thieme,
Lou Reed & Metallica,
Yusef Lateef,
Boogie Down Productions,
Wasted Youth,
the Slits,
Drexciya,
Sun Ra Arkestra,
the Association,
Selector Dub Narcotic,
Joy Division,
The Smiths,
Excepter,
The Techniques,
Don Cherry,
Ultramagnetic MC's,
Dennis Brown,
Main Source,
Jerry Gold Smith,
cv313,
Young Marble Giants,
Reuben Wilson,
Pussy Galore,
The Slits,
Au Pairs,
Godley & Creme,
Strawberry Alarm Clock,
The Moleskins,
The Angels of Light,
Pet Shop Boys,
De La Soul & Jungle Brothers,
The Cramps,
JFA,
Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra.
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.