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 Chile and from Stockholm.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Copenhagen.
I'm losing my edge to the art-school Lille 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 mellotron 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 Country Teasers to the dance kids.
I played it at the Crocodile.
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 Robert Görl. All the underground hits.
All Gregory Isaacs tracks. I heard you have a vinyl of every Rekid record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Dead C record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ken Boothe,
The Busters,
Derrick May,
Joyce Sims,
The Gories,
Danielle Patucci,
Con Funk Shun,
Anakelly,
Ultravox,
Sticky Fingaz feat. Raekwon,
The Sound,
Sun Ra Arkestra,
The Real Kids,
The Fall,
Traffic Nightmare,
Bad Manners,
Colin Newman,
Crash Course in Science,
Amon Düül,
The Count Five,
Cluster,
Cybotron,
The Names,
the Sonics,
The Gun Club,
Sarah Menescal,
Rowland S Howard / Lydia Lunch,
Grauzone,
Fort Wilson Riot,
John Holt,
The Modern Lovers,
Oneida,
The Star Department,
The Leaves,
Ornette Coleman,
Zapp,
The Cure,
Lebanon Hanover,
The West Coast Pop Art Experimental Band,
The Happenings,
Mr. Review,
The J.B.'s,
Chrome,
The Knickerbockers,
Lower 48,
New Age Steppers,
Grandmaster Flash and the Furious Five,
Jeru the Damaja,
Jesper Dahlback,
Sight & Sound,
Warsaw,
Pete Rock & C.L. Smooth,
Bobby Womack,
Skaos,
Fugazi,
Barclay James Harvest,
Man Parrish,
The Pop Group,
June Days,
AZ,
Rotary Connection,
Dawn Penn,
Technova, Technova, Technova, Technova.
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.