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 Honduras and from London.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Woodstock.
I'm losing my edge to the art-school New York 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 sitar 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 Pantytec to the jazz 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 Jandek. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every The Seeds 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 '80s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Warren Ellis record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tears for Fears,
The Fire Engines,
This Heat,
Notorious Big And Bone Thugs,
U.S. Maple,
the Association,
Max Romeo,
Grandmaster Flash,
Kevin Saunderson,
Brick,
kango's stein massive,
Camouflage,
Tropical Tobacco,
Swans,
The Evens,
Gang Starr,
Tubeway Army,
Cabaret Voltaire,
the Swans,
Ossler,
ABBA,
Zero Boys,
the Sonics,
Boogie Down Productions,
Janne Schatter,
Adolescents,
Jesper Dahlbäck,
Fad Gadget,
Urselle,
Harpers Bizarre,
Carl Craig,
Tomorrow,
Alton Ellis,
Lou Christie,
The Divine Comedy,
Dual Sessions,
Captain Beefheart & His Magic Band,
The Neon Judgement,
Be Bop Deluxe,
the Fania All-Stars,
Arcadia,
Saccharine Trust,
Ronan,
Country Teasers,
Johnny Osbourne,
Sad Lovers and Giants,
B.T. Express,
Hashim,
Anakelly,
Robert Wyatt,
Basic Channel,
The Peanut Butter Conspiracy,
The Real Kids,
Grey Daturas,
Liaisons Dangereuses,
Ultimate Spinach,
The United States of America,
The Electric Prunes,
Shoche,
Drexciya,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.