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 Pakistan and from Mexico City.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Madrid and Taipei.
I'm losing my edge to the art-school Tokyo 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 spring reverb 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 Minutemen to the jazz kids.
I played it at the Hacienda.
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 Barry Ungar. All the underground hits.
All Sixth Finger tracks. I heard you have a vinyl of every The Red Krayola record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Womack record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Delon & Dalcan,
Jesper Dahlbäck,
Anthony Braxton,
Silicon Teens,
Masters at Work,
Scientists,
Agitation Free,
MC5,
Technova,
Electric Light Orchestra,
Thinking Fellers Union Local 282,
Junior Murvin,
Aaron Thompson,
Alison Limerick,
Kerrie Biddell,
Bauhaus,
Kango’s Stein Massive,
La Düsseldorf,
Kerri Chandler,
48th St. Collective,
Popol Vuh,
Reuben Wilson,
The Velvet Underground,
Trumans Water,
Jerry's Kids,
Patti Smith,
Minor Threat,
The Mighty Diamonds,
The United States of America,
Pharoah Sanders,
Lungfish,
PIL,
The Walker Brothers,
Icehouse,
Slick Rick,
Dark Day,
the Sonics,
Circle Jerks,
Rahsaan Roland Kirk,
Sly & The Family Stone,
Massinfluence,
Robert Hood,
David McCallum,
Barbara Tucker,
The Cure,
Crash Course in Science,
Aswad,
Sight & Sound,
London Community Gospel Choir,
Monolake,
Visage,
Crooked Eye,
Roy Ayers,
Marc Romboy vs. Booka Shade,
The Monochrome Set,
Avey Tare's Slasher Flicks,
Cybotron,
Bizarre Inc.,
Animal Collective,
Hot Snakes,
the Swans,
Yellowson,
Audionom,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.