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 Guatemala and from Portland.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Halifax and Bologna.
I'm losing my edge to the art-school Copenhagen 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 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 Animal Collective 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 The Moleskins. All the underground hits.
All The Mojo Men tracks. I heard you have a vinyl of every Circle Jerks record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Residents record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
London Community Gospel Choir,
Todd Rundgren,
Donny Hathaway,
Robert Görl,
Nik Kershaw,
Lalo Schifrin,
Jimmy McGriff,
Con Funk Shun,
Au Pairs,
The Happenings,
The Star Department,
Throbbing Gristle,
World's Most,
Super Lover Cee & Casanova Rud,
Thinking Fellers Union Local 282,
Kool Moe Dee,
The Monks,
Andrew Ashong & Theo Parrish,
Jawbox,
Deadbeat,
Ornette Coleman,
The Stooges,
Arcadia,
Dorothy Ashby,
Rakim,
The Sound,
Dark Day,
Mark Hollis,
Jandek,
Pere Ubu,
Porter Ricks,
Sound Behaviour,
The Gories,
Quando Quango,
Harpers Bizarre,
Sad Lovers and Giants,
Procol Harum,
Sly & The Family Stone,
Mars,
Basic Channel,
Albert Ayler,
Peter and Kerry,
Maurizio,
Amon Düül,
Piero Umiliani,
Ronnie Foster,
Janne Schatter,
Marc Romboy vs. Booka Shade,
Infiniti,
The United States of America,
Crispian St. Peters,
Mandrill,
This Heat,
Tomorrow,
Andrew Hill,
Terry Callier,
Kurtis Blow,
Oblivians,
Gary Puckett & The Union Gap,
Barrington Levy,
Vladislav Delay,
Silicon Teens,
The Divine Comedy,
Inner City,
The Vogues, The Vogues, The Vogues, The Vogues.
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.