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 Czech Republic and from Winnipeg.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Bremen and Houston.
I'm losing my edge to the art-school Paris 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the guitar 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 The Gun Club to the punk kids.
I played it at the Astoria.
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 Soul Sonic Force. All the underground hits.
All AZ tracks. I heard you have a vinyl of every Henry Cow 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 '80s cut and another box set from the '80s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Nation of Ulysses record.
I hear that you and your band have sold your rhodes and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Wolf Eyes,
The Angels of Light,
Barrington Levy,
Pylon,
Brick,
the Germs,
Bauhaus,
The Victims,
Jerry Gold Smith,
Ken Boothe,
Notorious BIG live in Amsterdam,
Kurtis Blow,
Crooked Eye,
Aswad,
Jeru the Damaja,
Grandmaster Flash and the Furious Five,
Pharoah Sanders,
Minor Threat,
Manfred Mann's Earth Band,
Girls At Our Best!,
the Swans,
Barclay James Harvest,
Marc Romboy vs. Booka Shade,
Vaughan Mason & Crew,
Jacques Brel,
Beasts of Bourbon,
Excepter,
Japan,
Franke,
Saccharine Trust,
The Flesh Eaters,
U.S. Maple,
James White and The Blacks,
Smog,
Janne Schatter,
Ash Ra Tempel,
Gang Gang Dance,
Ludus,
Tears for Fears,
Joensuu 1685,
Kas Product,
The Dirtbombs,
Quantec,
Pussy Galore,
Skaos,
Technova,
Lebanon Hanover,
Max Romeo,
Sad Lovers and Giants,
The Last Poets,
Zero Boys,
Crispian St. Peters,
Slick Rick,
Patti Smith,
Television Personalities,
Rahsaan Roland Kirk,
Nik Kershaw,
Ultravox,
Wighnomy Brothers & Robag Wruhme,
48th St. Collective,
Bootsy Collins,
the Slits,
Sixth Finger, Sixth Finger, Sixth Finger, Sixth Finger.
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.