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 New Zealand and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1973.
I'm losing my edge.
To all the kids in London and Manchester.
I'm losing my edge to the art-school Sao Paulo 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 mellotron sounds with much patience.
I was there when Tom Verlaine 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 Soft Cell to the techno kids.
I played it at the Crocodile.
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 Brass Construction. All the underground hits.
All The Durutti Column tracks. I heard you have a vinyl of every Monks record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Eden Ahbez record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 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?
Bill Wells,
Lightning Bolt,
Warsaw,
Main Source,
World's Most,
John Holt,
Gastr Del Sol,
The Fire Engines,
Hardrive,
Brand Nubian,
Kerrie Biddell,
Oneida,
Siglo XX,
Con Funk Shun,
Kas Product,
Arthur Verocai,
Crooked Eye,
D'Angelo,
Oppenheimer Analysis,
Flipper,
Bang On A Can,
The Residents,
Pet Shop Boys,
Peter Gordon & Love of Life Orchestra,
The Monochrome Set,
Minutemen,
Khruangbin,
Sandy B,
Desert Stars,
John Cale,
Stockholm Monsters,
Rowland S Howard / Lydia Lunch,
Rapeman,
This Heat,
Outsiders,
Fifty Foot Hose,
John Coltrane,
The Mummies,
Q and Not U,
Bobby Sherman,
Heavy D & The Boyz,
Blancmange,
R.M.O.,
Monks,
Ultravox,
Sound Behaviour,
In Retrospect,
The Sound,
Wighnomy Brothers & Robag Wruhme,
Sun Ra,
Arab on Radar,
Harpers Bizarre,
Roxy Music,
The American Breed,
The Electric Prunes,
Lou Reed & John Cale,
Ponytail,
Jesper Dahlbäck,
Subhumans,
Erykah Badu,
Electric Light Orchestra,
Cluster,
Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive.
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.