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 Taiwan and from Milan.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1961 to 1970.
I'm losing my edge.
To all the kids in London and Woodstock.
I'm losing my edge to the art-school Mexico City 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 Donald Fagen 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 Fall to the punk kids.
I played it at the 40 Watt.
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 Joyce Sims. All the underground hits.
All The Remains tracks. I heard you have a vinyl of every Sandy B 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 '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Dead Boys record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mary Jane Girls,
Chris & Cosey,
Khruangbin,
The Knickerbockers,
Strawberry Alarm Clock,
Mars,
Marcia Griffiths,
Radio Birdman,
X-Ray Spex,
Bad Manners,
Alton Ellis,
The Monochrome Set,
Television,
The Raincoats,
Sonic Youth,
Japan,
Joey Negro,
Ossler,
Aaron Thompson,
The Mummies,
Rites of Spring,
Lucky Dragons,
Joyce Sims,
the Human League,
Subhumans,
Ludus,
Wolf Eyes,
Ronnie Foster,
Siglo XX,
Youth Brigade,
Rowland S Howard / Lydia Lunch,
Con Funk Shun,
The Smoke,
The Motions,
The New Christs,
Joe Finger,
Shoche,
Lou Christie,
The Saints,
Rotary Connection,
ABBA,
Bobby Sherman,
Dawn Penn,
Country Joe & The Fish,
Andrew Hill,
Pierre Henry,
Minutemen,
The Sonics,
cv313,
Heavy D & The Boyz,
Tomorrow,
Super Lover Cee & Casanova Rud,
Sparks,
OOIOO,
One Last Wish,
In Retrospect,
Liaisons Dangereuses,
Kool G Rap & DJ Polo,
David McCallum,
E-Dancer,
Bobby Womack,
Jandek,
Shuggie Otis,
Unwound, Unwound, Unwound, Unwound.
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.