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 Niger and from Johannesburg.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Tehran and Portland.
I'm losing my edge to the art-school Edmonton 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 marimba sounds with much patience.
I was there when Captain Beefheart 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 The Mummies to the disco 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 Camberwell Now. All the underground hits.
All Minny Pops tracks. I heard you have a vinyl of every Idris Muhammad record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Dead C record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sight & Sound,
Anakelly,
The Doors,
Arcadia,
The Shadows of Knight,
New Age Steppers,
Justin Hinds & The Dominoes,
Minutemen,
Radiopuhelimet,
Brothers Johnson,
Cal Tjader,
Orchestral Manoeuvres in the Dark,
Funky Four + One,
Siouxsie and the Banshees,
Urselle,
Audionom,
The Knickerbockers,
Tomorrow,
Warsaw,
The Selecter,
the Association,
Fugazi,
The Zeros,
Byron Stingily,
The Saints,
Major Organ And The Adding Machine,
Public Enemy,
Marc Almond,
The J.B.'s,
Nick Cave & The Bad Seeds,
Shoche,
Joe Smooth,
Mars,
Scion,
Robert Görl,
Pete Rock & C.L. Smooth,
Pierre Henry,
Wighnomy Brothers & Robag Wruhme,
ABC,
T.S.O.L.,
Ornette Coleman,
Dark Day,
Saccharine Trust,
PIL,
The Standells,
Moby Grape,
John Holt,
Hot Snakes,
Roxy Music,
Jandek,
In Retrospect,
Second Layer,
Interpol,
Basic Channel,
The Slackers,
Rosa Yemen,
Monks,
8 Eyed Spy,
The Tremeloes,
Bobby Byrd,
Albert Ayler,
The Flesh Eaters,
Gerry Rafferty,
Jesper Dahlback, Jesper Dahlback, Jesper Dahlback, Jesper Dahlback.
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.