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 Maldives and from Woodstock.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1978.
I'm losing my edge.
To all the kids in London and Delhi.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the oboe 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 Dead Boys to the grunge 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 N.O.R.E. Featuring Pharrell. All the underground hits.
All Piero Umiliani tracks. I heard you have a vinyl of every The New Christs 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 an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Dead Boys record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lakeside,
The Pop Group,
Scott Walker + Sunn O))),
The Doors,
Brick,
Hasil Adkins,
The Neon Judgement,
Los Fastidios,
The Electric Prunes,
Fear,
The Fuzztones,
The United States of America,
The Remains,
Altered Images,
The Wake,
Sonny Sharrock,
The Index,
Gil Scott-Heron and Jamie xx,
Ultravox,
Deadbeat,
The Cowsills,
Icehouse,
Glambeats Corp.,
Camouflage,
The Doobie Brothers,
The Smoke,
Talk Talk,
Sun City Girls,
Lonnie Liston Smith,
The Music Machine,
The Evens,
Orchestral Manoeuvres in the Dark,
Tears for Fears,
Mandrill,
Pantytec,
John Coltrane,
The Gladiators,
Aural Exciters,
Idris Muhammad,
A Flock of Seagulls,
Pussy Galore,
Gang Gang Dance,
Suburban Knight,
Albert Ayler,
The Tremeloes,
Young Marble Giants,
Alton Ellis,
Eric Dolphy,
Gerry Rafferty,
The Selecter,
Rod Modell,
Todd Rundgren,
David McCallum,
Gang of Four,
Make Up,
Moebius,
Girls At Our Best!,
World's Most,
Thee Headcoats,
John Foxx,
Letta Mbulu,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.