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 South Sudan and from Toronto.
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 1972.
I'm losing my edge.
To all the kids in Stockholm and Winnipeg.
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 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 Holger Czukay 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 The Zeros to the punk kids.
I played it at the Troubador.
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 Lizzy Mercier Descloux. All the underground hits.
All Erasure tracks. I heard you have a vinyl of every Dennis Brown record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Kas Product record.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bob Dylan,
Dorothy Ashby,
L. Decosne,
The Toasters,
kango's stein massive,
Sight & Sound,
Eve St. Jones,
Minutemen,
R.M.O.,
Ultra Naté,
The Leaves,
Stetsasonic,
Ornette Coleman,
Alton Ellis,
Joe Smooth,
Delon & Dalcan,
Slick Rick,
Con Funk Shun,
John Coltrane,
Lucky Dragons,
New Age Steppers,
Louis and Bebe Barron,
Radiohead,
Deepchord,
Mars,
Lower 48,
Eric Copeland,
Flipper,
Sun Ra,
The Doobie Brothers,
X-102,
Qualms,
The Blackbyrds,
Sexual Harrassment,
Andrew Hill,
Gabor Szabo,
Brand Nubian,
Lalann,
ABBA,
Avey Tare,
Mary Jane Girls,
Connie Case,
Major Organ And The Adding Machine,
Ultimate Spinach,
The Electric Prunes,
Crime,
Skriet,
Black Sheep,
the Germs,
Soul II Soul,
Wings,
Can,
the Swans,
Juan Atkins,
Albert Ayler,
Depeche Mode,
The Standells,
Nils Olav,
Aloha Tigers,
Cal Tjader,
Anthony Braxton,
The Remains, The Remains, The Remains, The Remains.
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.