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 Samoa 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 1965 to 1977.
I'm losing my edge.
To all the kids in Portland and Lille.
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 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 Strawberry Alarm Clock to the disco 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 Crispian St. Peters. All the underground hits.
All Heavy D & The Boyz tracks. I heard you have a vinyl of every Tommy Roe record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock 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?
James Chance & The Contortions,
Lee Hazlewood,
The American Breed,
Bronski Beat,
Ohio Players,
U.S. Maple,
The Monochrome Set,
Notorious BIG live in Amsterdam,
Kango’s Stein Massive,
Mandrill,
The Detroit Cobras,
Be Bop Deluxe,
Visage,
Marmalade,
Robert Hood,
Nick Cave & The Bad Seeds,
Captain Beefheart & His Magic Band,
Camron Feat. Jay Z And Juelz,
Youth Brigade,
Kool Moe Dee,
Quadrant,
Flipper,
The Cure,
Fugazi,
Ponytail,
Orchestral Manoeuvres in the Dark,
Kaleidoscope,
Larry & the Blue Notes,
Grey Daturas,
Peter & Gordon,
Moebius,
8 Eyed Spy,
Qualms,
The New Christs,
Albert Ayler,
Eve St. Jones,
Country Joe & The Fish,
Electric Light Orchestra,
The Alarm Clocks,
Lungfish,
The Royal Family And The Poor,
The Move,
Ultra Naté,
FM Einheit,
Yellowson,
Alphaville,
David Bowie,
the Bar-Kays,
Monks,
The Toasters,
The Motions,
Bootsy Collins,
Johnny Osbourne,
The Flesh Eaters,
Gary Puckett & The Union Gap,
The Residents,
Soft Machine,
Gil Scott-Heron and Jamie xx,
John Holt,
Clear Light,
Dark Day,
Swell Maps, Swell Maps, Swell Maps, Swell Maps.
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.