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 Somalia and from Glasgow.
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 1965 to 1974.
I'm losing my edge.
To all the kids in London and Johannesburg.
I'm losing my edge to the art-school New York 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 1973 at the first Television practice in a loft in New York.
I was working on the rhodes 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 Ohio Players to the electroclash 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 The Jesus and Mary Chain. All the underground hits.
All Bronski Beat tracks. I heard you have a vinyl of every Flash Fearless record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Stockholm Monsters record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Stiv Bators,
Los Fastidios,
Circle Jerks,
Tres Demented,
Cymande,
Warsaw,
Angry Samoans,
Freddie Wadling,
Flipper,
Al Stewart,
Pylon,
The Moody Blues,
Echospace,
London Community Gospel Choir,
The Leaves,
One Last Wish,
Bill Wells,
Radio Birdman,
Erykah Badu,
The Cowsills,
Gil Scott-Heron & Brian Jackson,
Black Bananas,
the Human League,
Flash Fearless,
PIL,
Gabor Szabo,
Harmonia,
Q65,
Swans,
Tubeway Army,
Section 25,
L. Decosne,
the Swans,
Slave,
Patti Smith,
Rhythim Is Rhythim,
Marine Girls,
The Fall,
Scan 7,
Whodini,
Cecil Taylor,
The Slits,
DJ Sneak,
Electric Prunes,
CMW,
Aural Exciters,
Sister Nancy,
Rufus Thomas,
The Last Poets,
Depeche Mode,
Johnny Osbourne,
Louis and Bebe Barron,
Robert Hood,
Isaac Hayes,
Sam Rivers,
Hot Snakes,
Matthew Bourne,
John Coltrane,
Soft Machine,
Bootsy Collins,
The Gun Club,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.