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 Kiribati and from Cairo.
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 1973.
I'm losing my edge.
To all the kids in Tehran and Taipei.
I'm losing my edge to the art-school Seoul 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 chamberlin sounds with much patience.
I was there when David Bowie 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 Masta Ace, Craig G, Kool G Rap, Big Daddy Kane to the techno 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 ABBA. All the underground hits.
All the Slits tracks. I heard you have a vinyl of every Scott Walker record on German import.
I heard that you have a white label of every seminal grunge 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 an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Albert Ayler,
Essential Logic,
Nation of Ulysses,
Big Daddy Kane,
Bill Wells,
The Neon Judgement,
Magma,
Hoover,
The American Breed,
The Cosmic Jokers,
The Fugs,
Joy Division,
Anthony Braxton,
Lebanon Hanover,
June Days,
Television,
Soul II Soul,
Dawn Penn,
The Star Department,
Dual Sessions,
Susan Cadogan,
Wire,
The Move,
Bizarre Inc.,
Crash Course in Science,
Fluxion,
Heavy D & The Boyz,
Television Personalities,
Harry Pussy,
The West Coast Pop Art Experimental Band,
The Associates,
Tomorrow,
Motorama,
The Techniques,
Ice-T,
These Immortal Souls,
Kool Moe Dee,
Make Up,
Chrome,
Sound Behaviour,
Roger Hodgson,
Pete Rock & C.L. Smooth,
the Fania All-Stars,
Animal Collective,
The Barracudas,
Sex Pistols,
Arcadia,
Ornette Coleman,
The Chocolate Watch Band,
Pere Ubu,
Ajijia Myrayebe,
Silicon Teens,
The Litter,
Urselle,
Rufus Thomas,
Ludus,
Sly & The Family Stone,
Mantronix,
The Monks,
L. Decosne,
Stockholm Monsters,
Marmalade, Marmalade, Marmalade, Marmalade.
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.