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 Haiti and from Manila.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Calgary and Taipei.
I'm losing my edge to the art-school Tehran 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 Wire practice in a loft in Watford.
I was working on the oboe 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 Manfred Mann's Earth Band to the jazz kids.
I played it at Trash.
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 One Last Wish. All the underground hits.
All Black Pus tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Lakeside record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Golliwogs,
Avey Tare's Slasher Flicks,
Gong,
Alton Ellis,
Shuggie Otis,
Maleditus Sound,
Quadrant,
The Doors,
Bizarre Inc.,
Steve Hackett,
Beasts of Bourbon,
The Modern Lovers,
Kings Of Tomorrow,
The Seeds,
Flash Fearless,
John Lydon,
The Monochrome Set,
The Walker Brothers,
Tim Buckley,
Sun City Girls,
Brand Nubian,
The Fall,
L. Decosne,
Schoolly D,
Section 25,
Red Lorry Yellow Lorry,
The Remains,
The Red Krayola,
Blossom Toes,
Röyhkä ja Rättö ja Lehtisalo,
Gabor Szabo,
Arthur Verocai,
Pharaoh Sanders and the Fire Engines,
The Toasters,
Maurizio,
Adolescents,
Hot Snakes,
Siouxsie and the Banshees,
Sonny Sharrock,
Little Man,
Public Image Ltd.,
the Swans,
Mandrill,
Louis and Bebe Barron,
The Standells,
Eurythmics,
Hardrive,
Jeru the Damaja,
U.S. Maple,
De La Soul & Jungle Brothers,
Technova,
Crime,
Teenage Jesus and the Jerks,
The Index,
Half Japanese,
Q and Not U,
Art Ensemble Of Chicago,
Patti Smith,
The Fire Engines,
Deutsch Amerikanische Freundschaft,
ABC,
Eric Copeland,
Bronski Beat,
Depeche Mode, Depeche Mode, Depeche Mode, Depeche Mode.
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.