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 Kenya and from Mexico City.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Milan and Hong Kong.
I'm losing my edge to the art-school Lyon 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 Human League practice in a loft in Sheffield.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 Trojans to the grunge 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 ABBA. All the underground hits.
All Bang On A Can tracks. I heard you have a vinyl of every Jacob Miller record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sandy B record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Swans,
Qualms,
Graham Central Station,
A Certain Ratio,
The Blues Magoos,
Black Sheep,
Eve St. Jones,
Bill Wells,
D'Angelo,
The Toasters,
Flamin' Groovies,
The Pretty Things,
Slave,
Albert Ayler,
Lightning Bolt,
Ponytail,
Blossom Toes,
The Busters,
Country Joe & The Fish,
the Association,
Aswad,
Talk Talk,
Man Parrish,
Black Moon,
Amon Düül,
Jacques Brel,
Pharaoh Sanders and the Fire Engines,
Pantaleimon,
Neu!,
Captain Beefheart & His Magic Band,
The Fortunes,
Unrelated Segments,
Scion,
The Raincoats,
Cheater Slicks,
Boredoms,
Pete Rock & C.L. Smooth,
Au Pairs,
DeepChord presents Echospace,
The Fire Engines,
The Durutti Column,
Orchestral Manoeuvres in the Dark,
Country Teasers,
Boz Scaggs,
Gichy Dan,
Girls At Our Best!,
Intrusion,
Young Marble Giants,
Whodini,
Subhumans,
The Real Kids,
Eric Dolphy,
Sugar Minott,
The Martian,
Loose Ends,
Connie Case,
Ten City,
Pagans,
The Names,
Marshall Jefferson,
Skriet,
Mr. Review,
Arcadia,
The Young Rascals, The Young Rascals, The Young Rascals, The Young Rascals.
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.