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 United States and from Copenhagen.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Spokane and Lille.
I'm losing my edge to the art-school Tokyo 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the linndrum 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 Public Image Ltd. to the dance kids.
I played it at the Hacienda.
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 Robert Hood. All the underground hits.
All Dead Boys tracks. I heard you have a vinyl of every Roger Hodgson 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 '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Sexual Harrassment record.
I hear that you and your band have sold your snare and bought an oboe.
I hear that you and your band have sold your oboe and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Martian,
Freddie Wadling,
Procol Harum,
The Dave Clark Five,
Whodini,
Lonnie Liston Smith,
London Community Gospel Choir,
The Barracudas,
Cecil Taylor,
Boz Scaggs,
Deadbeat,
Teenage Jesus and the Jerks,
A Certain Ratio,
Jerry Gold Smith,
The Monks,
Gary Puckett & The Union Gap,
Colin Newman,
Joy Division,
The Evens,
Black Moon,
Alison Limerick,
Selector Dub Narcotic,
Bill Wells,
Reuben Wilson,
Shuggie Otis,
The Grass Roots,
UT,
Porter Ricks,
Television,
Inner City,
Big Daddy Kane,
the Swans,
The Cosmic Jokers,
June Days,
X-101,
Chris & Cosey,
The Golliwogs,
Public Enemy,
Jimmy McGriff,
Notorious BIG live in Amsterdam,
Gregory Isaacs,
This Heat,
The Neon Judgement,
Susan Cadogan,
Unwound,
Roy Ayers,
Desert Stars,
The Electric Prunes,
Tom Boy,
PIL,
X-Ray Spex,
The Shadows of Knight,
Slick Rick,
Pulsallama,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Mary Jane Girls,
Brass Construction,
Andrew Hill,
The Gories,
Easy Going,
Sparks,
Massinfluence, Massinfluence, Massinfluence, Massinfluence.
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.