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 Antigua and from Paris.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Delhi and Paris.
I'm losing my edge to the art-school Bologna 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 mellotron sounds with much patience.
I was there when Tom Verlaine 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 Cymande to the jazz kids.
I played it at the 40 Watt.
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 Harmonia. All the underground hits.
All Rufus Thomas tracks. I heard you have a vinyl of every Loose Ends 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 '50s cut and another box set from the '70s.
I hear you're buying an organ and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Rod Modell record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faraquet,
Ultramagnetic MC's,
Dennis Brown,
Peter and Kerry,
the Association,
The Alarm Clocks,
Agent Orange,
Grandmaster Flash and the Furious Five,
Aswad,
The Star Department,
Stockholm Monsters,
Amon Düül II,
Eric B and Rakim,
Ronan,
The Vogues,
Visage,
Saccharine Trust,
the Bar-Kays,
Mad Mike,
Sällskapet,
Jerry's Kids,
Oneida,
Alice Coltrane,
Dave Gahan,
The Cramps,
Public Image Ltd.,
Kas Product,
The Zeros,
Lungfish,
Sad Lovers and Giants,
Traffic Nightmare,
Pylon,
Dual Sessions,
Camberwell Now,
Shuggie Otis,
Negative Approach,
MC5,
Skarface,
Rakim,
Tropical Tobacco,
The Cowsills,
Peter & Gordon,
Au Pairs,
LL Cool J,
Röyhkä ja Rättö ja Lehtisalo,
Notorious BIG live in Amsterdam,
Niagra,
Cal Tjader,
Quantec,
Minutemen,
Monks,
Wire,
Fatback Band,
Eric Copeland,
Urselle,
Echo & the Bunnymen,
Sparks,
Gang Starr,
Half Japanese,
June Days,
Avey Tare & Kría Brekkan,
Lou Christie, Lou Christie, Lou Christie, Lou Christie.
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.