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 South Sudan and from Philadelphia.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Portland and Tehran.
I'm losing my edge to the art-school Bologna 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 güiro 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 Judy Mowatt to the crunk kids.
I played it at the Hacienda.
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 Dead Boys. All the underground hits.
All Heavy D & The Boyz tracks. I heard you have a vinyl of every Marc Almond 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 '80s cut and another box set from the '90s.
I hear you're buying a guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Beau Brummels record.
I hear that you and your band have sold your oboe and bought a theremin.
I hear that you and your band have sold your theremin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moss Icon,
The Gladiators,
Gary Puckett & The Union Gap,
The Names,
Lafayette Afro Rock Band,
Pantytec,
Y Pants,
The Birthday Party,
the Swans,
Brothers Johnson,
Eden Ahbez,
Q65,
The Fire Engines,
Soulsonic Force,
Henry Cow,
Liliput,
Slave,
Tommy Roe,
Eyeless In Gaza,
Jerry Gold Smith,
Rapeman,
Spoonie Gee,
The Zeros,
The Gories,
Pierre Henry,
Gang of Four,
Babytalk,
Jerry's Kids,
Depeche Mode,
Fat Boys,
Judy Mowatt,
Junior Murvin,
Soul Sonic Force,
Saccharine Trust,
the Slits,
The Detroit Cobras,
Man Eating Sloth,
The Alarm Clocks,
Vaughan Mason & Crew,
Spandau Ballet,
Marc Almond,
Bob Dylan,
Yellowson,
Jandek,
Mark Hollis,
The Move,
The Fugs,
Aloha Tigers,
Swans,
Lightning Bolt,
Bush Tetras,
Quadrant,
Bad Manners,
Kings Of Tomorrow,
Röyhkä ja Rättö ja Lehtisalo,
The Music Machine,
The Gun Club,
The Slits,
Minnie Riperton,
Cheater Slicks,
Skriet,
Groovy Waters, Groovy Waters, Groovy Waters, Groovy Waters.
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.