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 Equatorial Guinea and from Madrid.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Milan and Edmonton.
I'm losing my edge to the art-school Columbus 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 guitar sounds with much patience.
I was there when Nile Rodgers 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 Faraquet to the funk kids.
I played it at the 40 Watt.
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 Flipper. All the underground hits.
All Delta 5 tracks. I heard you have a vinyl of every Metal Thangz record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Blancmange record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar 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?
Howard Jones,
The Count Five,
John Cale,
Smog,
The Cowsills,
Boredoms,
MDC,
T.S.O.L.,
Newcleus,
Lee Hazlewood,
The Birthday Party,
Nirvana,
Bang On A Can,
ABC,
The Remains,
Public Enemy,
John Coltrane,
Qualms,
Suicide,
Major Organ And The Adding Machine,
Circle Jerks,
F. McDonald,
Pole,
Cameo,
Los Fastidios,
The Cosmic Jokers,
Ohio Players,
The Electric Prunes,
Can,
The Durutti Column,
Rowland S Howard / Lydia Lunch,
Arab on Radar,
The Saints,
Roxette,
Bush Tetras,
Jandek,
Scion,
Arthur Verocai,
Spoonie Gee,
Kauko Röyhkä ja Narttu,
Schoolly D,
Lindisfarne,
Skriet,
Neil Young,
Kurtis Blow,
Desert Stars,
Danielle Patucci,
Camberwell Now,
Stiv Bators,
Lou Christie,
The Index,
Yaz,
Pierre Henry,
Matthew Bourne,
Mission of Burma,
Fugazi,
FM Einheit,
Tropical Tobacco,
H. Thieme,
Avey Tare & Kría Brekkan,
Black Pus,
Bang on a Can All-Stars,
Lonnie Liston Smith,
Groovy Waters, Groovy Waters, Groovy Waters, Groovy Waters.
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.