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 Uganda and from London.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Beijing.
I'm losing my edge to the art-school Shanghai 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 guitar 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 Boredoms to the electroclash 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 Howard Jones. All the underground hits.
All Notorious BIG live in Amsterdam tracks. I heard you have a vinyl of every Marine Girls record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Be Bop Deluxe record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare,
The Move,
Black Moon,
Joensuu 1685,
The Smoke,
Nick Fraelich,
Wolf Eyes,
Scion,
New Order,
Y Pants,
The Monochrome Set,
Marmalade,
Royal Trux,
Sun Ra Arkestra,
Japan,
Babytalk,
Bronski Beat,
Icehouse,
The Leaves,
Mo-Dettes,
Flash Fearless,
Newcleus,
Franke,
Matthew Halsall,
Eve St. Jones,
Wings,
Pantaleimon,
Colin Newman,
June Days,
A Flock of Seagulls,
Ultimate Spinach,
The Skatalites,
The Knickerbockers,
Supertramp,
Mad Mike,
John Coltrane,
Nils Olav,
Flipper,
Juan Atkins,
John Foxx,
Joe Smooth,
Soul II Soul,
the Sonics,
Gastr Del Sol,
Danielle Patucci,
Deepchord,
Talk Talk,
Joy Division,
Q and Not U,
Circle Jerks,
Tubeway Army,
Animal Collective,
The Slits,
Gong,
Chrome,
Erasure,
Ash Ra Tempel,
Angels of Light & Akron/Family,
The Real Kids,
The Litter,
Mr. Review,
Intrusion, Intrusion, Intrusion, Intrusion.
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.