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 Algeria and from Lille.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Lyon and Salvador.
I'm losing my edge to the art-school Milan 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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 Charles Mingus to the funk 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 The Wake. All the underground hits.
All Max Romeo tracks. I heard you have a vinyl of every Ajijia Myrayebe record on German import.
I heard that you have a white label of every seminal grime 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 harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Livin' Joy record.
I hear that you and your band have sold your snare and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter & Gordon,
Icehouse,
the Germs,
Glambeats Corp.,
Moebius,
DNA,
Arthur Verocai,
Kerri Chandler,
Robert Hood,
Blossom Toes,
The Barracudas,
Marc Almond,
Los Fastidios,
Drive Like Jehu,
Pylon,
Grandmaster Flash and the Furious Five,
Brass Construction,
Sister Nancy,
The Seeds,
Ice-T,
The Smiths,
Jesper Dahlbäck,
Popol Vuh,
Andrew Ashong & Theo Parrish,
New Order,
Girls At Our Best!,
The United States of America,
The Dave Clark Five,
The Offenders,
The Flesh Eaters,
Skarface,
The Shadows of Knight,
The Happenings,
Mo-Dettes,
Second Layer,
Fat Boys,
Thompson Twins,
The Birthday Party,
The Beau Brummels,
Isaac Hayes,
The Velvet Underground,
Avey Tare,
Sun Ra Arkestra,
Judy Mowatt,
June of 44,
Lafayette Afro Rock Band,
Massinfluence,
Bill Near,
Yaz,
Youth Brigade,
Vaughan Mason & Crew,
Shoche,
Scion,
the Bar-Kays,
Jeru the Damaja,
Röyhkä ja Rättö ja Lehtisalo,
The Remains,
Thee Headcoats,
48th St. Collective,
Dave Gahan,
X-102,
LL Cool J,
Bluetip, Bluetip, Bluetip, Bluetip.
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.