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 Thailand and from Hong Kong.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1974.
I'm losing my edge.
To all the kids in Hong Kong and Toronto.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the mellotron sounds with much patience.
I was there when Michael McDonald 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 Ornette Coleman to the rock kids.
I played it at the Troubador.
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 Thee Headcoats. All the underground hits.
All Pylon tracks. I heard you have a vinyl of every Grauzone record on German import.
I heard that you have a white label of every seminal funk 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 an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kaleidoscope,
Scientists,
Silicon Teens,
The Men They Couldn't Hang,
The Move,
Dark Day,
Average White Band,
Ash Ra Tempel,
Avey Tare,
Technova,
The Detroit Cobras,
Malaria!,
Easy Going,
Rod Modell,
Drive Like Jehu,
Laurel Aitken,
Avey Tare's Slasher Flicks,
The Residents,
Notorious Big And Bone Thugs,
Peter & Gordon,
Joe Smooth,
The Skatalites,
Rotary Connection,
Warsaw,
Archie Shepp,
The Associates,
UT,
Andrew Ashong & Theo Parrish,
Y Pants,
Soul Sonic Force,
Idris Muhammad,
The Red Krayola,
Model 500,
The Cowsills,
Selector Dub Narcotic,
Louis and Bebe Barron,
Q and Not U,
Stereo Dub,
Wasted Youth,
The Tremeloes,
John Holt,
June Days,
Tomorrow,
Depeche Mode,
Throbbing Gristle,
Clear Light,
Shoche,
Suicide,
Sly & The Family Stone,
Marcia Griffiths,
Subhumans,
Public Enemy,
Marine Girls,
Black Flag,
Maleditus Sound,
Roy Ayers Ubiquity,
Howard Jones,
Alison Limerick,
Severed Heads,
Alphaville,
R.M.O.,
Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo.
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.