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 Micronesia and from Hong Kong.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Spokane and Seoul.
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 1978 at the first Visage practice in a loft in London.
I was working on the güiro 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 The Zeros to the jazz 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 Pharaoh Sanders and the Fire Engines. All the underground hits.
All Pulsallama tracks. I heard you have a vinyl of every Super Lover Cee & Casanova Rud record on German import.
I heard that you have a white label of every seminal funk 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 spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The J.B.'s record.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Lydon,
Television,
Dual Sessions,
Magazine,
Jerry's Kids,
Pet Shop Boys,
Thinking Fellers Union Local 282,
Mary Jane Girls,
Theoretical Girls,
the Normal,
Lonnie Liston Smith,
Al Stewart,
James Chance & The Contortions,
Bang On A Can,
Rhythm & Sound,
Soft Machine,
Gang Starr,
Fela Kuti,
Sexual Harrassment,
Reuben Wilson,
Gary Puckett & The Union Gap,
DJ Style,
Peter and Kerry,
Thompson Twins,
The Cowsills,
Animal Collective,
Gil Scott-Heron & Brian Jackson,
Rowland S Howard / Lydia Lunch,
Eyeless In Gaza,
Minor Threat,
Electric Light Orchestra,
Roy Ayers Ubiquity,
Brand Nubian,
Crime,
Motorama,
Connie Case,
Jimmy McGriff,
Moby Grape,
Roy Ayers,
Technova,
Larry & the Blue Notes,
Fifty Foot Hose,
Justin Hinds & The Dominoes,
Blancmange,
Radiopuhelimet,
Stereo Dub,
The Names,
Echo & the Bunnymen,
Unwound,
Wings,
Con Funk Shun,
Sunsets and Hearts,
The United States of America,
Soft Cell,
JFA,
Nik Kershaw,
The Fugs,
Gastr Del Sol,
Clear Light,
Gil Scott Heron,
Interpol,
Avey Tare,
Janne Schatter,
Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines.
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.