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 Iran and from Seoul.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Jakarta.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the organ sounds with much patience.
I was there when Tom Verlaine 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 Gregory Isaacs to the techno kids.
I played it at the Troubador.
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 Shoche. All the underground hits.
All Can tracks. I heard you have a vinyl of every The Cramps 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 '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Black Pus record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blossom Toes,
The Vogues,
Moebius,
Oneida,
Roxette,
Josef K,
Glambeats Corp.,
Roy Ayers Ubiquity,
Danielle Patucci,
Iggy Pop,
Ossler,
Mary Jane Girls,
Ohio Players,
Smog,
The Remains,
ABC,
Bill Wells,
Arab on Radar,
A Certain Ratio,
Bauhaus,
Vainqueur,
Rekid,
Boogie Down Productions,
The Smoke,
Scan 7,
Johnny Clarke,
Mantronix,
Supertramp,
Avey Tare,
The Barracudas,
Aswad,
Kerri Chandler,
Surgeon,
Idris Muhammad,
Q65,
Bizarre Inc.,
Mission of Burma,
Big Daddy Kane,
Outsiders,
Cecil Taylor,
Spoonie Gee,
Infiniti,
JFA,
Faraquet,
Joe Finger,
Average White Band,
The Saints,
Eurythmics,
Bob Dylan,
Kauko Röyhkä ja Narttu,
Boz Scaggs,
Dr. Dre and Snoop Doggy Dog,
Mr. Review,
Morten Harket,
Gang of Four,
Crispy Ambulance,
Yazoo,
Bootsy's Rubber Band,
Pagans,
Derrick Morgan,
Easy Going,
Reagan Youth,
Funky Four + One,
Camberwell Now, Camberwell Now, Camberwell Now, Camberwell Now.
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.