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 Macedonia and from London.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Mumbai and Philadelphia.
I'm losing my edge to the art-school Tokyo 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 808 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 Monolake to the dance 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 Magazine. All the underground hits.
All Sugar Minott tracks. I heard you have a vinyl of every Lindisfarne record on German import.
I heard that you have a white label of every seminal disco 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 clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Accadde A record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maleditus Sound,
Public Enemy,
Dorothy Ashby,
The Gories,
Outsiders,
The Techniques,
June Days,
Sad Lovers and Giants,
Lyres,
Barrington Levy,
Gil Scott-Heron and Jamie xx,
Unrelated Segments,
JFA,
Whodini,
Eli Mardock,
Patti Smith,
Big Daddy Kane,
Junior Murvin,
Leonard Cohen,
The Victims,
The United States of America,
Byron Stingily,
The Doors,
The Wake,
Brand Nubian,
Donny Hathaway,
Crispy Ambulance,
Soulsonic Force,
This Heat,
Lou Reed & Metallica,
The Chocolate Watch Band,
Thinking Fellers Union Local 282,
Sugar Minott,
Gang Gang Dance,
The Durutti Column,
Josef K,
Das Ding,
Magazine,
The Remains,
Ituana,
Gerry Rafferty,
Boogie Down Productions,
Boredoms,
Ralphi Rosario,
Lucky Dragons,
Mary Jane Girls,
Janne Schatter,
Loose Ends,
Black Bananas,
Bizarre Inc.,
Mars,
Flash Fearless,
Terry Callier,
Pete Rock & C.L. Smooth,
Letta Mbulu,
Banda Bassotti,
Gong,
Metal Thangz,
Arthur Verocai,
Tropical Tobacco,
The Standells,
Boz Scaggs,
Crooked Eye, Crooked Eye, Crooked Eye, Crooked Eye.
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.