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 Australia and from Copenhagen.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Calgary and Shanghai.
I'm losing my edge to the art-school London 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 Buzzcocks practice in a loft in Bolton.
I was working on the snare 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 Heaven 17 to the disco 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 Bill Wells. All the underground hits.
All Brick tracks. I heard you have a vinyl of every Hasil Adkins record on German import.
I heard that you have a white label of every seminal jazz 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 a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a KRS-One record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Michelle Simonal,
Lou Reed & John Cale,
Art Ensemble Of Chicago,
Joyce Sims,
Dark Day,
Sad Lovers and Giants,
Pylon,
Pagans,
Tomorrow,
The Zeros,
The Count Five,
Gastr Del Sol,
Minor Threat,
Beasts of Bourbon,
The Fuzztones,
Rekid,
Amon Düül,
Wings,
Cymande,
Matthew Bourne,
Sam Rivers,
Roy Ayers Ubiquity,
Magma,
Depeche Mode,
Angels of Light & Akron/Family,
Talk Talk,
Delta 5,
Deakin,
Peter Gordon & Love of Life Orchestra,
Charles Mingus,
The Dirtbombs,
Audionom,
Sun Ra,
The Sisters of Mercy,
Eve St. Jones,
Skarface,
Ohio Players,
Bad Manners,
Roy Ayers,
The Red Krayola,
Oblivians,
Maleditus Sound,
Pantytec,
Fluxion,
James Chance & The Contortions,
Nation of Ulysses,
Alison Limerick,
Clear Light,
Faust,
Fat Boys,
Justin Hinds & The Dominoes,
Minnie Riperton,
The Martian,
Ultimate Spinach,
Infiniti,
Deadbeat,
Brick,
Anthony Braxton,
Wolf Eyes,
Von Mondo,
Franke,
the Normal,
Neil Young & Crazy Horse,
Vaughan Mason & Crew,
A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls.
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.