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 Iraq and from Lille.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Beijing.
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 spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Half Japanese to the disco 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 The Jesus and Mary Chain. All the underground hits.
All The Index tracks. I heard you have a vinyl of every The Remains 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 '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Buzzcocks record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chrome,
The Pop Group,
Larry & the Blue Notes,
Supertramp,
The Remains,
Sandy B,
Metal Thangz,
The Mojo Men,
Peter & Gordon,
Kerrie Biddell,
Subhumans,
the Slits,
Lungfish,
Country Teasers,
Man Eating Sloth,
Siouxsie and the Banshees,
Lalo Schifrin,
Jesper Dahlback,
Urselle,
Richard Hell and the Voidoids,
Anakelly,
ABBA,
Lalann,
Cluster,
Television Personalities,
Lafayette Afro Rock Band,
Röyhkä ja Rättö ja Lehtisalo,
Ohio Players,
The Jesus and Mary Chain,
Popol Vuh,
Talk Talk,
Gil Scott-Heron & Brian Jackson,
Newcleus,
Motorama,
Johnny Clarke,
John Coltrane,
Das Ding,
Aswad,
Soft Cell,
The Sound,
The Young Rascals,
Arthur Verocai,
Gil Scott-Heron and Jamie xx,
Don Cherry,
Crooked Eye,
Sam Rivers,
Nirvana,
Camouflage,
The Count Five,
Marine Girls,
Shoche,
Silicon Teens,
Nation of Ulysses,
L. Decosne,
Gong,
Roy Ayers,
Public Enemy,
Mantronix,
Siglo XX,
The Fortunes,
Matthew Halsall,
the Swans,
Absolute Body Control, Absolute Body Control, Absolute Body Control, Absolute Body Control.
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.