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 East Timor and from Edmonton.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Shanghai.
I'm losing my edge to the art-school Portland 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 spring reverb 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 Lafayette Afro Rock Band to the grime 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 Nation of Ulysses. All the underground hits.
All Au Pairs tracks. I heard you have a vinyl of every Red Lorry Yellow Lorry 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 '60s cut and another box set from the '70s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Sad Lovers and Giants record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Accadde A,
Terrestrial Tones,
Soft Cell,
Sex Pistols,
Quadrant,
Brick,
Eurythmics,
Vainqueur,
The Monochrome Set,
Theoretical Girls,
Ronan,
Kings Of Tomorrow,
Young Marble Giants,
Blossom Toes,
Dark Day,
Crooked Eye,
Harmonia,
Black Sheep,
MC5,
Shuggie Otis,
Mission of Burma,
The Barracudas,
Spoonie Gee,
Ludus,
The Names,
Grandmaster Flash and the Furious Five,
The Last Poets,
Sunsets and Hearts,
Roy Ayers Ubiquity,
Althea and Donna,
the Normal,
Basic Channel,
Lou Christie,
Subhumans,
Matthew Bourne,
Michelle Simonal,
EPMD,
Pharaoh Sanders and the Fire Engines,
Al Stewart,
Minutemen,
Second Layer,
Flash Fearless,
Thompson Twins,
Kauko Röyhkä ja Narttu,
Fatback Band,
The West Coast Pop Art Experimental Band,
Captain Beefheart & His Magic Band,
R.M.O.,
Sarah Menescal,
The Index,
AZ,
Idris Muhammad,
The Music Machine,
Scientists,
Heavy D & The Boyz,
Peter & Gordon,
Matthew Halsall,
Stetsasonic,
Sam Rivers,
Rufus Thomas,
Yazoo, Yazoo, Yazoo, Yazoo.
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.