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 Dominican Republic and from Lyon.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1972.
I'm losing my edge.
To all the kids in Woodstock and Johannesburg.
I'm losing my edge to the art-school Beijing 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 clarinet sounds with much patience.
I was there when Captain Beefheart 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 Zero Boys to the jazz 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 Average White Band. All the underground hits.
All Franke tracks. I heard you have a vinyl of every Kaleidoscope record on German import.
I heard that you have a white label of every seminal punk 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 an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Easy Going record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scion,
The Human League,
Lindisfarne,
James White and The Blacks,
Crispy Ambulance,
Black Flag,
The Offenders,
The Dave Clark Five,
Simply Red,
Jimmy McGriff,
The Slits,
JFA,
Traffic Nightmare,
KRS-One,
Faust,
Rotary Connection,
Minny Pops,
Ten City,
Tropical Tobacco,
Spoonie Gee,
Kerrie Biddell,
The Mummies,
The Grass Roots,
Kauko Röyhkä ja Narttu,
John Lydon,
Big Daddy Kane,
The Peanut Butter Conspiracy,
Jeru the Damaja,
Wire,
Groovy Waters,
Von Mondo,
Robert Wyatt,
Selector Dub Narcotic,
London Community Gospel Choir,
Joensuu 1685,
DJ Sneak,
Notorious Big And Bone Thugs,
Delon & Dalcan,
Gregory Isaacs,
The Residents,
Fifty Foot Hose,
Animal Collective,
Bang on a Can All-Stars,
Yazoo,
Piero Umiliani,
Amon Düül II,
Terror Squad Feat. Camron,
Connie Case,
Sonic Youth,
Bluetip,
Angry Samoans,
Andrew Hill,
Henry Cow,
Pet Shop Boys,
Rosa Yemen,
Sun Ra Arkestra,
Man Eating Sloth,
The Sonics,
The Standells,
Rites of Spring,
Terry Callier,
Sad Lovers and Giants,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.