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 Albania and from Beijing.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1965 to 1979.
I'm losing my edge.
To all the kids in London and Bologna.
I'm losing my edge to the art-school Madrid 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the harpsichord 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 The Martian to the grunge kids.
I played it at the Roxy.
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 It's A Beautiful Day. All the underground hits.
All Stetsasonic tracks. I heard you have a vinyl of every The Cowsills 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 '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Alphaville record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harpers Bizarre,
Major Organ And The Adding Machine,
Kings Of Tomorrow,
Amon Düül II,
The Fortunes,
Audionom,
Pharaoh Sanders and the Fire Engines,
Connie Case,
Eyeless In Gaza,
Red Lorry Yellow Lorry,
Newcleus,
Jeff Lynne,
Soul II Soul,
Terry Callier,
Bootsy's Rubber Band,
Massinfluence,
Sun Ra,
Joey Negro,
Das Ding,
Juan Atkins,
Deepchord,
Ajijia Myrayebe,
Marc Romboy vs. Booka Shade,
PIL,
Boredoms,
Schoolly D,
The Jesus and Mary Chain,
The Motions,
Fad Gadget,
Max Romeo,
Avey Tare's Slasher Flicks,
The Dirtbombs,
The J.B.'s,
The Slits,
The Names,
The Sonics,
T. Rex,
The Star Department,
Ultramagnetic MC's,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Ultimate Spinach,
Scion,
The Young Rascals,
H. Thieme,
Babytalk,
Ash Ra Tempel,
Gastr Del Sol,
Magma,
Black Moon,
Kayak,
Jacques Brel,
Mad Mike,
The Selecter,
Yellowson,
The Blackbyrds,
The Searchers,
Rhythm & Sound,
Echospace,
Deakin,
Sarah Menescal,
Roxette,
The Gladiators,
Black Flag, Black Flag, Black Flag, Black Flag.
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.