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 Colombia and from Cairo.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Beijing and Philadelphia.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
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 Wings to the funk kids.
I played it at the Spitz.
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 T.S.O.L.. All the underground hits.
All Rites of Spring tracks. I heard you have a vinyl of every Half Japanese 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 '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Neon Judgement,
Basic Channel,
Susan Cadogan,
Organ,
Eric Copeland,
Thompson Twins,
Television,
Brass Construction,
Country Joe & The Fish,
MC5,
Pete Rock & C.L. Smooth,
Underground Resistance,
Derrick May,
the Human League,
Gang Gang Dance,
X-Ray Spex,
Röyhkä ja Rättö ja Lehtisalo,
Silicon Teens,
Sixth Finger,
Severed Heads,
Gil Scott-Heron and Jamie xx,
Masters at Work,
The Buckinghams,
Barry Ungar,
Brand Nubian,
The Chocolate Watch Band,
The Last Poets,
Barbara Tucker,
The New Christs,
Frankie Knuckles,
K-Klass,
Rekid,
Liliput,
the Slits,
June Days,
The Star Department,
The Mighty Diamonds,
EPMD,
Crispian St. Peters,
Kevin Saunderson,
Dark Day,
Ronan,
Simply Red,
Thee Headcoats,
Brothers Johnson,
Oblivians,
Royal Trux,
Scratch Acid,
Kaleidoscope,
Television Personalities,
The Names,
Stockholm Monsters,
Funkadelic,
Louis and Bebe Barron,
Aural Exciters,
T.S.O.L.,
Saccharine Trust,
Larry & the Blue Notes,
Metal Thangz,
Jandek,
The Blues Magoos,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Five Americans, The Five Americans, The Five Americans, The Five Americans.
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.