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 New Zealand and from Bologna.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1974.
I'm losing my edge.
To all the kids in Philadelphia and Calgary.
I'm losing my edge to the art-school Bremen 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the 808 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 Dorothy Ashby to the rock 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 X-101. All the underground hits.
All Marine Girls tracks. I heard you have a vinyl of every Max Romeo record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a 8 Eyed Spy record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Arthur Verocai,
The Slits,
The Five Americans,
Gerry Rafferty,
The Remains,
The Grass Roots,
Funky Four + One,
Delon & Dalcan,
Bobbi Humphrey,
The Mighty Diamonds,
Bob Dylan,
Q65,
Eli Mardock,
The Slackers,
PIL,
Fela Kuti,
Derrick May,
Sugar Minott,
Ajijia Myrayebe,
Sällskapet,
Porter Ricks,
Strawberry Alarm Clock,
The Seeds,
The Angels of Light,
Subhumans,
Pylon,
Lalann,
Skaos,
Animal Collective,
Nik Kershaw,
The Litter,
Bizarre Inc.,
Piero Umiliani,
Sixth Finger,
Liaisons Dangereuses,
Marc Almond,
Amazonics,
In Retrospect,
Swans,
Pere Ubu,
Terror Squad Feat. Camron,
Oblivians,
The Fuzztones,
Minutemen,
Susan Cadogan,
Mr. Review,
Teenage Jesus and the Jerks,
Sight & Sound,
Gil Scott Heron,
Jesper Dahlback,
Robert Görl,
Alison Limerick,
Barbara Tucker,
The Cowsills,
Lee Hazlewood,
Banda Bassotti,
Tommy Roe,
Tom Boy,
Rapeman,
Whodini,
Rod Modell, Rod Modell, Rod Modell, Rod Modell.
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.