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 Bremen.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Manchester and Halifax.
I'm losing my edge to the art-school Mexico City 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 snare sounds with much patience.
I was there when Donald Fagen 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 Anthony Braxton to the dance kids.
I played it at the Spitz.
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 Steve Hackett. All the underground hits.
All Outsiders tracks. I heard you have a vinyl of every Jacques Brel 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 sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Scan 7 record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cure,
David Bowie,
Harmonia,
Rhythim Is Rhythim,
Peter Gordon & Love of Life Orchestra,
Rhythm & Sound,
Fifty Foot Hose,
the Germs,
Outsiders,
Buzzcocks,
Glambeats Corp.,
New Age Steppers,
It's A Beautiful Day,
Judy Mowatt,
Blake Baxter,
Kurtis Blow,
Goldenarms,
The Leaves,
ABBA,
Nation of Ulysses,
Rites of Spring,
Warren Ellis,
Susan Cadogan,
Shuggie Otis,
Khruangbin,
The Walker Brothers,
PIL,
Tim Buckley,
48th St. Collective,
Delta 5,
Eurythmics,
Cal Tjader,
Grauzone,
Model 500,
The Fugs,
The Smoke,
AZ,
Lou Christie,
John Foxx,
Tears for Fears,
Arcadia,
The Modern Lovers,
The Misunderstood,
Hot Snakes,
Ultravox,
The Doobie Brothers,
Cameo,
DNA,
Lou Reed & John Cale,
Sly & The Family Stone,
Shoche,
The Fire Engines,
Aural Exciters,
Ituana,
Porter Ricks,
Sex Pistols,
X-101,
Soul II Soul,
Kaleidoscope,
the Soft Cell,
Swans,
Wolf Eyes, Wolf Eyes, Wolf Eyes, Wolf Eyes.
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.