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 Syria and from Lagos.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1975.
I'm losing my edge.
To all the kids in Houston and Shanghai.
I'm losing my edge to the art-school Mumbai 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 guitar sounds with much patience.
I was there when Robert Palmer 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 Oblivians to the jazz kids.
I played it at the Troubador.
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 Flesh Eaters. All the underground hits.
All Rhythm & Sound tracks. I heard you have a vinyl of every MDC 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 '50s cut and another box set from the '90s.
I hear you're buying a guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Happenings record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun Ra Arkestra,
B.T. Express,
Reagan Youth,
Yazoo,
Eli Mardock,
The Blues Magoos,
Man Eating Sloth,
The Chocolate Watch Band,
Sonic Youth,
The Young Rascals,
Loose Ends,
Kauko Röyhkä ja Narttu,
Mission of Burma,
The Toasters,
The Busters,
Deutsch Amerikanische Freundschaft,
The Mighty Diamonds,
Magma,
Massinfluence,
Moebius,
Jandek,
Eden Ahbez,
Slave,
Bobby Byrd,
Letta Mbulu,
Ken Boothe,
Lower 48,
ABBA,
The Zeros,
Thompson Twins,
Soft Machine,
Nirvana,
Ten City,
Scratch Acid,
The Real Kids,
Underground Resistance,
Depeche Mode,
U.S. Maple,
Cabaret Voltaire,
Gabor Szabo,
H. Thieme,
Hot Snakes,
The Fugs,
Terry Callier,
Louis and Bebe Barron,
Patti Smith,
Angry Samoans,
Cal Tjader,
Mantronix,
Jerry Gold Smith,
Joy Division,
Spoonie Gee,
Symarip,
Interpol,
Roy Ayers,
The Gap Band,
Gang Green,
The Misunderstood,
Franke,
Moby Grape,
Josef K,
kango's stein massive,
Lebanon Hanover,
Charles Mingus,
Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks.
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.