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 Fiji and from Manchester.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1977.
I'm losing my edge.
To all the kids in Salvador and Stockholm.
I'm losing my edge to the art-school Sao Paulo 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 guitar sounds with much patience.
I was there when Michael McDonald 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 Funkadelic 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 Dead Boys. All the underground hits.
All Tom Boy tracks. I heard you have a vinyl of every Tropical Tobacco 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 '70s cut and another box set from the '90s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
The Gories,
Röyhkä ja Rättö ja Lehtisalo,
Marine Girls,
Kauko Röyhkä ja Narttu,
Avey Tare's Slasher Flicks,
Angels of Light & Akron/Family,
Bill Near,
The Divine Comedy,
Sister Nancy,
The Techniques,
Archie Shepp,
The Birthday Party,
Minny Pops,
Delon & Dalcan,
Fugazi,
John Lydon,
John Holt,
Hot Snakes,
The Wake,
June of 44,
Nick Fraelich,
The Slits,
Bootsy's Rubber Band,
Robert Wyatt,
Lindisfarne,
Interpol,
Terrestrial Tones,
Model 500,
Goldenarms,
Thompson Twins,
David Bowie,
The Residents,
Danielle Patucci,
Ituana,
Supertramp,
Carl Craig,
The J.B.'s,
The Golliwogs,
Rapeman,
Agent Orange,
Los Fastidios,
The Doobie Brothers,
Fort Wilson Riot,
Orchestral Manoeuvres in the Dark,
Wolf Eyes,
Kaleidoscope,
Traffic Nightmare,
The Tremeloes,
Excepter,
Cluster,
Unwound,
Crooked Eye,
Ultramagnetic MC's,
Roxette,
The American Breed,
Gary Puckett & The Union Gap,
The Men They Couldn't Hang,
Ken Boothe,
Marshall Jefferson,
Chris & Cosey,
Country Teasers,
The Walker Brothers, The Walker Brothers, The Walker Brothers, The Walker Brothers.
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.