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 Oman and from Philadelphia.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Lagos and Madrid.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the güiro 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 Stereo Dub 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 Eden Ahbez. All the underground hits.
All Crash Course in Science tracks. I heard you have a vinyl of every F. McDonald record on German import.
I heard that you have a white label of every seminal jazz 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 an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Young Marble Giants record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unrelated Segments,
Surgeon,
Ornette Coleman,
Throbbing Gristle,
Clear Light,
Eric Copeland,
Anakelly,
Ponytail,
Nik Kershaw,
Warren Ellis,
The Slits,
Albert Ayler,
Maleditus Sound,
The Associates,
the Human League,
Lindisfarne,
Quando Quango,
JFA,
Young Marble Giants,
the Fania All-Stars,
Ash Ra Tempel,
Lizzy Mercier Descloux,
Mantronix,
Moebius,
Peter and Kerry,
Nico,
Excepter,
Jeff Mills,
Theoretical Girls,
Dead Boys,
The Doobie Brothers,
Black Bananas,
Gil Scott Heron,
Brick,
Lakeside,
Drexciya,
CMW,
Hot Snakes,
The Men They Couldn't Hang,
Be Bop Deluxe,
Terrestrial Tones,
The Gladiators,
Scan 7,
Parry Music,
The Alarm Clocks,
the Slits,
Fatback Band,
Main Source,
AZ,
Bobby Byrd,
Monolake,
The Smiths,
Camron Feat. Memphis Bleek And Beenie Seigel,
The United States of America,
Drive Like Jehu,
Neu!,
Pantaleimon,
Lalann,
Angry Samoans,
Jesper Dahlback,
The Sound, The Sound, The Sound, The Sound.
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.