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 Tokyo.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Johannesburg.
I'm losing my edge to the art-school Jakarta 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 Josef K practice in a loft in Edinburgh.
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 The United States of America to the punk 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 kango's stein massive. All the underground hits.
All Japan tracks. I heard you have a vinyl of every Matthew Bourne 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 '90s.
I hear you're buying a marimba and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Tears for Fears record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
the Germs,
The Shadows of Knight,
Ornette Coleman,
The Beau Brummels,
Althea and Donna,
Gary Puckett & The Union Gap,
Ash Ra Tempel,
Sound Behaviour,
The Index,
Wolf Eyes,
Deadbeat,
Kevin Saunderson,
Rowland S Howard / Lydia Lunch,
Bang On A Can,
L. Decosne,
The Sound,
The Techniques,
Ohio Players,
Boz Scaggs,
The Men They Couldn't Hang,
Eli Mardock,
Can,
Brick,
New York Dolls,
Minny Pops,
Slave,
Tomorrow,
Avey Tare's Slasher Flicks,
Sight & Sound,
Japan,
Parry Music,
Byron Stingily,
Thee Headcoats,
Prince Buster,
Buzzcocks,
Avey Tare & Kría Brekkan,
Animal Collective,
Eyeless In Gaza,
Unwound,
Vladislav Delay,
The Human League,
John Holt,
Guru Guru,
Selector Dub Narcotic,
The Birthday Party,
The Young Rascals,
In Retrospect,
Lalann,
Bang on a Can All-Stars,
Joy Division,
Ossler,
Sun Ra Arkestra,
the Sonics,
Q and Not U,
Brothers Johnson,
The Litter,
Icehouse,
Camberwell Now,
Man Parrish,
Wally Richardson,
The Dirtbombs, The Dirtbombs, The Dirtbombs, The Dirtbombs.
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.