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 Qatar and from Beijing.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Shanghai and Houston.
I'm losing my edge to the art-school Columbus 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 sitar 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 The Selecter to the techno kids.
I played it at the Astoria.
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 Sister Nancy. All the underground hits.
All Black Moon tracks. I heard you have a vinyl of every Gang of Four record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Harry Pussy record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kauko Röyhkä ja Narttu,
Gary Puckett & The Union Gap,
The Zeros,
Depeche Mode,
KRS-One,
Gang of Four,
The Techniques,
Stiv Bators,
De La Soul & Jungle Brothers,
Electric Prunes,
Theoretical Girls,
Lafayette Afro Rock Band,
Soulsonic Force,
Swans,
Con Funk Shun,
Juan Atkins,
The Flesh Eaters,
Joe Finger,
Niagra,
Big Daddy Kane,
Wasted Youth,
Ultimate Spinach,
Lou Reed & John Cale,
The Five Americans,
Marvin Gaye,
The West Coast Pop Art Experimental Band,
Johnny Clarke,
Justin Hinds & The Dominoes,
Lou Reed,
Gil Scott Heron,
Eric B and Rakim,
Visage,
the Fania All-Stars,
Au Pairs,
Althea and Donna,
DJ Style,
Quantec,
B.T. Express,
EPMD,
Marcia Griffiths,
Bad Manners,
Susan Cadogan,
Kango’s Stein Massive,
Nas,
Wings,
These Immortal Souls,
The Offenders,
UT,
Eddi Front,
Brass Construction,
The Sonics,
Leonard Cohen,
Steve Hackett,
Barbara Tucker,
Jimmy McGriff,
U.S. Maple,
Derrick May,
Main Source,
Bill Near,
The Victims,
Janne Schatter,
The Saints,
David Axelrod,
Al Stewart, Al Stewart, Al Stewart, Al Stewart.
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.