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 Argentina and from Spokane.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Halifax and Philadelphia.
I'm losing my edge to the art-school Calgary 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 marimba 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 Rosa Yemen to the rap 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 Black Bananas. All the underground hits.
All Isaac Hayes tracks. I heard you have a vinyl of every Gang Gang Dance 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 '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Michelle Simonal,
Jeff Mills,
Aswad,
Slave,
L. Decosne,
Shoche,
Nas,
The Beau Brummels,
Tom Boy,
The Invisible,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
June Days,
John Lydon,
Steve Hackett,
Flipper,
James White and The Blacks,
R.M.O.,
Gerry Rafferty,
Swans,
The Fuzztones,
The Monochrome Set,
Wolf Eyes,
Prince Buster,
Siouxsie and the Banshees,
Grey Daturas,
Rakim,
Strawberry Alarm Clock,
Fear,
The Pretty Things,
Lyres,
Quantec,
Eric Copeland,
Roxette,
Lucky Dragons,
Tropical Tobacco,
Pagans,
Urselle,
The Smiths,
Depeche Mode,
The Skatalites,
The Evens,
The Remains,
The Residents,
Bush Tetras,
Public Enemy,
Anakelly,
Man Eating Sloth,
The American Breed,
Altered Images,
Eyeless In Gaza,
The Techniques,
The Martian,
Hot Snakes,
Graham Central Station,
X-101,
Agent Orange,
a-ha,
Q65,
Spoonie Gee,
Cal Tjader,
Underground Resistance,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.