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 Norway and from Glasgow.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1976.
I'm losing my edge.
To all the kids in Manchester and Winnipeg.
I'm losing my edge to the art-school Bremen 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 808 sounds with much patience.
I was there when Donald Fagen 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 Quando Quango to the grime kids.
I played it at the Roxy.
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 Zapp. All the underground hits.
All Selector Dub Narcotic tracks. I heard you have a vinyl of every June of 44 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 '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Lydon,
Niagra,
The Moleskins,
Mo-Dettes,
The Shadows of Knight,
The Electric Prunes,
Fat Boys,
Scan 7,
Major Organ And The Adding Machine,
Robert Wyatt,
Harpers Bizarre,
Pharaoh Sanders and the Fire Engines,
Angry Samoans,
Yazoo,
Orchestral Manoeuvres in the Dark,
Shoche,
R.M.O.,
Bootsy Collins,
Neil Young & Crazy Horse,
the Bar-Kays,
Tres Demented,
The Sonics,
Gang Green,
Avey Tare,
Cecil Taylor,
Hoover,
Deutsch Amerikanische Freundschaft,
The Sound,
Amon Düül,
Marc Romboy vs. Booka Shade,
Ludus,
Janne Schatter,
The West Coast Pop Art Experimental Band,
Dark Day,
Hasil Adkins,
Wally Richardson,
Matthew Bourne,
Kauko Röyhkä ja Narttu,
The Gories,
Bobby Byrd,
Section 25,
Main Source,
Vainqueur,
The Chocolate Watch Band,
KRS-One,
Jacob Miller,
Howard Jones,
Bush Tetras,
Susan Cadogan,
JFA,
MDC,
Rod Modell,
Wighnomy Brothers & Robag Wruhme,
Aural Exciters,
Surgeon,
Royal Trux,
Radiopuhelimet,
Ituana,
Toni Rubio,
The Neon Judgement,
The Knickerbockers,
The Last Poets, The Last Poets, The Last Poets, The Last Poets.
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.