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 Libya and from Mumbai.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Lagos and Paris.
I'm losing my edge to the art-school Tehran 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 Boz Scaggs to the grunge kids.
I played it at the Spitz.
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 Fela Kuti. All the underground hits.
All Rakim tracks. I heard you have a vinyl of every Brick 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 '50s cut and another box set from the '80s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Con Funk Shun record.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Residents,
Depeche Mode,
John Foxx,
The Seeds,
Lou Reed,
Chrome,
Wire,
Röyhkä ja Rättö ja Lehtisalo,
Rakim,
Gil Scott Heron,
The Peanut Butter Conspiracy,
Bobby Sherman,
Cecil Taylor,
Au Pairs,
Intrusion,
Angry Samoans,
Joyce Sims,
Barbara Tucker,
Red Lorry Yellow Lorry,
The Shadows of Knight,
the Sonics,
Ultravox,
Sexual Harrassment,
Make Up,
Reagan Youth,
Faust,
Qualms,
The Gap Band,
A Certain Ratio,
Radiopuhelimet,
The Selecter,
Roy Ayers,
These Immortal Souls,
Trumans Water,
Zapp,
Aaron Thompson,
Lindisfarne,
Jerry's Kids,
Oblivians,
Albert Ayler,
The Real Kids,
Yellowson,
JFA,
The Men They Couldn't Hang,
The Fortunes,
X-Ray Spex,
Gang of Four,
R.M.O.,
Marshall Jefferson,
The Leaves,
Sister Nancy,
Bang on a Can All-Stars,
Deadbeat,
Kool G Rap & DJ Polo,
Aloha Tigers,
The Martian,
Infiniti,
The Jesus and Mary Chain,
Boredoms,
Warsaw,
The Monochrome Set,
Brass Construction,
Stereo Dub, Stereo Dub, Stereo Dub, Stereo Dub.
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.