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 Ireland and from Mexico City.
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 1974.
I'm losing my edge.
To all the kids in Manila and Bologna.
I'm losing my edge to the art-school Manchester 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 1977 at the first Zapp practice in a loft in Hamilton.
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 the Soft Cell to the funk kids.
I played it at the Hacienda.
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 Techniques. All the underground hits.
All Dawn Penn tracks. I heard you have a vinyl of every Scientists 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 '80s.
I hear you're buying a clarinet and a spring reverb 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 chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moody Blues,
Sugar Minott,
Oneida,
Warren Ellis,
Pylon,
Magazine,
Sonny Sharrock,
Fifty Foot Hose,
Subhumans,
The Litter,
Laurel Aitken,
Scion,
Dorothy Ashby,
Television Personalities,
Slave,
the Fania All-Stars,
Marcia Griffiths,
Fat Boys,
MDC,
Fear,
Gian Franco Pienzio,
Judy Mowatt,
L. Decosne,
Avey Tare & Kría Brekkan,
Harpers Bizarre,
CMW,
The Pop Group,
Justin Hinds & The Dominoes,
Hot Snakes,
Stockholm Monsters,
Franke,
The Cramps,
Dual Sessions,
Sun Ra Arkestra,
Soft Cell,
The Smoke,
Unwound,
The Moleskins,
Television,
Schoolly D,
Pantaleimon,
Intrusion,
the Association,
Beasts of Bourbon,
The Slits,
The Dave Clark Five,
Newcleus,
Jeff Lynne,
The Electric Prunes,
The Searchers,
Von Mondo,
Drexciya,
Mr. Review,
Can,
Banda Bassotti,
Swans,
The Grass Roots,
Janne Schatter,
Talk Talk,
Heavy D & The Boyz,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Radiohead,
Brothers Johnson,
Aloha Tigers, Aloha Tigers, Aloha Tigers, Aloha Tigers.
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.