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 South Africa and from Columbus.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Calgary and Mexico City.
I'm losing my edge to the art-school Bremen 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 theremin 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 Technova to the techno kids.
I played it at the Roxy.
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 Jeff Mills. All the underground hits.
All Tropical Tobacco tracks. I heard you have a vinyl of every Sly & The Family Stone record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Ohio Players record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minny Pops,
E-Dancer,
Deutsch Amerikanische Freundschaft,
The Tremeloes,
Tomorrow,
Howard Jones,
Moby Grape,
Sixth Finger,
The Gap Band,
Angry Samoans,
Mandrill,
Con Funk Shun,
Scrapy,
Guru Guru,
Lonnie Liston Smith,
John Coltrane,
Wire,
Jandek,
Neil Young & Crazy Horse,
Liliput,
Vaughan Mason & Crew,
Suburban Knight,
The Stooges,
Funkadelic,
R.M.O.,
Au Pairs,
Dead Boys,
Barbara Tucker,
Pantaleimon,
The Gun Club,
The Fall,
Ludus,
Half Japanese,
Amon Düül II,
Shoche,
Zero Boys,
Kings Of Tomorrow,
Buzzcocks,
Kayak,
Cluster,
New York Dolls,
Bluetip,
Idris Muhammad,
Susan Cadogan,
Stetsasonic,
Boz Scaggs,
Ronnie Foster,
The Beau Brummels,
The West Coast Pop Art Experimental Band,
the Swans,
Flash Fearless,
The Jesus and Mary Chain,
Juan Atkins,
Young Marble Giants,
Qualms,
Hashim,
Aural Exciters,
Bronski Beat,
Ponytail,
The Golliwogs,
Joy Division,
the Slits, the Slits, the Slits, the Slits.
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.