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 Czech Republic and from Glasgow.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Toronto.
I'm losing my edge to the art-school Milan 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 linndrum sounds with much patience.
I was there when David Bowie 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 Pete Rock & C.L. Smooth to the crunk kids.
I played it at Trash.
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 Tim Buckley. All the underground hits.
All Erykah Badu tracks. I heard you have a vinyl of every Hoover 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 a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Sister Nancy record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Moon,
Mandrill,
Gregory Isaacs,
Zero Boys,
Marshall Jefferson,
Half Japanese,
Chris Corsano,
Spandau Ballet,
Ossler,
The Sonics,
Altered Images,
Max Romeo,
Marcia Griffiths,
Vainqueur,
Blake Baxter,
Anthony Braxton,
A Flock of Seagulls,
Negative Approach,
Desert Stars,
Fifty Foot Hose,
Curtis Mayfield,
F. McDonald,
X-101,
Public Enemy,
Rhythm & Sound,
Jesper Dahlbäck,
Deakin,
Pantaleimon,
Monolake,
Eric Copeland,
Jeff Lynne,
Eden Ahbez,
Don Cherry,
Crime,
The Offenders,
Michelle Simonal,
La Düsseldorf,
The Litter,
Notorious Big And Bone Thugs,
Hot Snakes,
Freddie Wadling,
Shuggie Otis,
Skriet,
The American Breed,
Magazine,
Cheater Slicks,
Warsaw,
Mantronix,
Saccharine Trust,
Visionaries,LMNO, T- Love & Iriscience,
Magma,
Motorama,
Davy DMX,
Selector Dub Narcotic,
Youth Brigade,
Sight & Sound,
The Toasters,
Barry Ungar,
Wire,
Pere Ubu,
Derrick Morgan,
Harry Pussy,
Easy Going, Easy Going, Easy Going, Easy Going.
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.