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 Nigeria 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 1964 to 1975.
I'm losing my edge.
To all the kids in Lille and Jakarta.
I'm losing my edge to the art-school Toronto 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 chamberlin 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 Unrelated Segments to the grime kids.
I played it at CBGB's.
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 Harry Pussy. All the underground hits.
All The Beau Brummels tracks. I heard you have a vinyl of every Nas record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Toasters,
The Young Rascals,
Archie Shepp,
Matthew Bourne,
New Age Steppers,
Jeff Lynne,
Cheater Slicks,
Pantytec,
The West Coast Pop Art Experimental Band,
Quantec,
Magazine,
Alton Ellis,
Selector Dub Narcotic,
MDC,
Camberwell Now,
Connie Case,
Radio Birdman,
Joyce Sims,
Joe Finger,
Eric B and Rakim,
kango's stein massive,
DeepChord presents Echospace,
Chris & Cosey,
Sun City Girls,
The Motions,
Derrick May,
Letta Mbulu,
Qualms,
Rufus Thomas,
The Litter,
John Holt,
The Gap Band,
Jeru the Damaja,
Reagan Youth,
Icehouse,
The Grass Roots,
the Association,
FM Einheit,
Yellowson,
Bauhaus,
Severed Heads,
Lou Reed,
the Human League,
Sexual Harrassment,
Saccharine Trust,
Peter and Kerry,
Lou Reed & Metallica,
The United States of America,
Ten City,
Lou Reed & John Cale,
The Vogues,
Adolescents,
The J.B.'s,
Gian Franco Pienzio,
The Wake,
John Cale,
B.T. Express,
Altered Images,
Louis and Bebe Barron,
Rhythim Is Rhythim,
EPMD,
Agitation Free, Agitation Free, Agitation Free, Agitation Free.
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.