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 Papua New Guinea and from Manchester.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Cairo and Tehran.
I'm losing my edge to the art-school London 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 Soft Boys practice in a loft in Cambridge.
I was working on the clarinet 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 Country Teasers to the crunk kids.
I played it at Trash.
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 Main Source. All the underground hits.
All The Jesus and Mary Chain tracks. I heard you have a vinyl of every Parry Music 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 '80s cut and another box set from the '90s.
I hear you're buying a sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Flesh Eaters record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Maleditus Sound,
Peter and Kerry,
Man Parrish,
Vladislav Delay,
Notorious Big And Bone Thugs,
Swans,
Derrick May,
DeepChord presents Echospace,
Gang of Four,
Unwound,
The Busters,
Ten City,
OOIOO,
Isaac Hayes,
It's A Beautiful Day,
Strawberry Alarm Clock,
Average White Band,
Idris Muhammad,
Crooked Eye,
L. Decosne,
Alice Coltrane,
The Count Five,
The Saints,
Metal Thangz,
EPMD,
Main Source,
Boredoms,
Public Image Ltd.,
Minor Threat,
Q and Not U,
The Real Kids,
Sugar Minott,
Sight & Sound,
T. Rex,
Kerrie Biddell,
MDC,
Kaleidoscope,
Leonard Cohen,
Parry Music,
The Toasters,
Chris & Cosey,
Pantaleimon,
Eli Mardock,
Quando Quango,
E-Dancer,
the Bar-Kays,
AZ,
Hot Snakes,
The Fugs,
Shoche,
Sunsets and Hearts,
Be Bop Deluxe,
The Stooges,
The Wake,
Eric B and Rakim,
Thee Headcoats,
Goldenarms,
Ultramagnetic MC's,
Deadbeat,
Sexual Harrassment,
DJ Sneak,
Joe Smooth,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.