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 Mauritania and from Jakarta.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Milan and Copenhagen.
I'm losing my edge to the art-school Edmonton 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the rhodes 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 Index to the electroclash kids.
I played it at the Troubador.
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 The Knickerbockers. All the underground hits.
All Wings tracks. I heard you have a vinyl of every Peter Gordon & Love of Life Orchestra 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 '70s cut and another box set from the '80s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Jandek record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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?
John Lydon,
Freddie Wadling,
Fluxion,
Drexciya,
the Bar-Kays,
The Sisters of Mercy,
Nirvana,
Deadbeat,
Animal Collective,
The Dirtbombs,
Infiniti,
Robert Görl,
Stetsasonic,
Groovy Waters,
Mandrill,
London Community Gospel Choir,
The Velvet Underground,
Richard Hell and the Voidoids,
Warsaw,
Gil Scott-Heron & Brian Jackson,
Gichy Dan,
Easy Going,
Schoolly D,
The Remains,
The Techniques,
Janne Schatter,
Juan Atkins,
Ultimate Spinach,
Glambeats Corp.,
Kas Product,
Model 500,
Bootsy's Rubber Band,
Quantec,
Suicide,
Mad Mike,
Grey Daturas,
Country Joe & The Fish,
Andrew Hill,
Stereo Dub,
Arcadia,
Traffic Nightmare,
Con Funk Shun,
Dorothy Ashby,
Little Man,
DNA,
Funky Four + One,
The Litter,
Sugar Minott,
Main Source,
Q and Not U,
The Toasters,
Half Japanese,
D'Angelo,
Silicon Teens,
Tommy Roe,
The Tremeloes,
The Beau Brummels,
Joy Division,
the Normal,
Bronski Beat,
Ten City,
Oblivians,
Oneida, Oneida, Oneida, Oneida.
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.