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 Turkmenistan and from Glasgow.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1971.
I'm losing my edge.
To all the kids in Milan and Spokane.
I'm losing my edge to the art-school Cairo 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 guitar sounds with much patience.
I was there when Michael McDonald 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 Sonny Sharrock to the funk 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 Scott Walker + Sunn O))). All the underground hits.
All Black Pus tracks. I heard you have a vinyl of every Eli Mardock 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 '80s cut and another box set from the '90s.
I hear you're buying a guitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Bizarre Inc. record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kerrie Biddell,
Cybotron,
Iggy Pop,
Fort Wilson Riot,
Archie Shepp,
The Vogues,
Monolake,
The Associates,
Matthew Bourne,
Von Mondo,
Mo-Dettes,
Q and Not U,
DNA,
The Neon Judgement,
Nick Cave & The Bad Seeds,
Johnny Osbourne,
Red Lorry Yellow Lorry,
the Slits,
Cymande,
Cameo,
The Red Krayola,
Black Bananas,
Flamin' Groovies,
Terrestrial Tones,
the Soft Cell,
Deakin,
Eve St. Jones,
Gary Puckett & The Union Gap,
Graham Central Station,
Black Sheep,
48th St. Collective,
Roxette,
The Smiths,
Boz Scaggs,
Brothers Johnson,
The Standells,
Nas,
Byron Stingily,
Joyce Sims,
Fifty Foot Hose,
Niagra,
Albert Ayler,
The Divine Comedy,
Derrick Morgan,
Thee Headcoats,
Yellowson,
Cal Tjader,
The Invisible,
Yusef Lateef,
New Age Steppers,
Black Flag,
Andrew Ashong & Theo Parrish,
Model 500,
Dorothy Ashby,
Grandmaster Flash,
Selector Dub Narcotic,
Terror Squad Feat. Camron,
Mad Mike,
Marvin Gaye,
Youth Brigade,
Lyres,
ABBA, ABBA, ABBA, ABBA.
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.