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 Liberia and from Woodstock.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1972.
I'm losing my edge.
To all the kids in Lagos and Lagos.
I'm losing my edge to the art-school Tehran 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 rhodes 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 Iggy Pop to the grime kids.
I played it at the Hacienda.
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 Sad Lovers and Giants. All the underground hits.
All The Peanut Butter Conspiracy tracks. I heard you have a vinyl of every The Victims 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 '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The J.B.'s record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter Gordon & Love of Life Orchestra,
Lower 48,
Intrusion,
Terrestrial Tones,
Super Lover Cee & Casanova Rud,
Bad Manners,
The Invisible,
Spandau Ballet,
The J.B.'s,
Röyhkä ja Rättö ja Lehtisalo,
A Certain Ratio,
Todd Terry,
Bill Wells,
Nick Cave & The Bad Seeds,
OOIOO,
the Soft Cell,
Joey Negro,
The Shadows of Knight,
Ronnie Foster,
Mr. Review,
The Knickerbockers,
Crime,
Susan Cadogan,
Liliput,
Circle Jerks,
Talk Talk,
Cheater Slicks,
Q65,
The Slackers,
Sonny Sharrock,
MDC,
Aswad,
Ken Boothe,
Fatback Band,
ABC,
Gil Scott-Heron and Jamie xx,
Eli Mardock,
Janne Schatter,
the Human League,
Basic Channel,
Piero Umiliani,
Young Marble Giants,
Albert Ayler,
KRS-One,
Ituana,
Ohio Players,
Gian Franco Pienzio,
Porter Ricks,
the Germs,
Letta Mbulu,
The Litter,
The Blues Magoos,
Easy Going,
Sunsets and Hearts,
Peter and Kerry,
Depeche Mode,
Subhumans,
Can,
Notorious Big And Bone Thugs,
The Martian, The Martian, The Martian, The Martian.
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.