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 Japan and from London.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Bologna and Accra.
I'm losing my edge to the art-school Tehran 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the oboe sounds with much patience.
I was there when Robert Palmer 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 Flipper to the punk kids.
I played it at Trash.
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 Japan. All the underground hits.
All Inner City tracks. I heard you have a vinyl of every The Men They Couldn't Hang record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Buzzcocks record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cabaret Voltaire,
Harpers Bizarre,
Jerry's Kids,
E-Dancer,
Minor Threat,
The Smiths,
Sällskapet,
Black Pus,
Carl Craig,
The Beau Brummels,
MDC,
Delon & Dalcan,
CMW,
Visage,
Marc Romboy vs. Booka Shade,
Bootsy's Rubber Band,
Malaria!,
Deakin,
Slave,
The Mojo Men,
Gang Starr,
Procol Harum,
Orchestral Manoeuvres in the Dark,
Nick Cave & The Bad Seeds,
Ludus,
Marvin Gaye,
The Associates,
the Sonics,
Minutemen,
Index,
Groovy Waters,
The American Breed,
Gil Scott Heron,
The Selecter,
Ornette Coleman,
The Fire Engines,
Fugazi,
Pharaoh Sanders and the Fire Engines,
New York Dolls,
Nico,
the Soft Cell,
Lonnie Liston Smith,
Alison Limerick,
Thompson Twins,
Avey Tare & Kría Brekkan,
Crash Course in Science,
The Index,
Michelle Simonal,
Terrestrial Tones,
Bad Manners,
Theoretical Girls,
Whodini,
Pole,
Curtis Mayfield,
Lungfish,
Thee Headcoats,
Hasil Adkins,
Man Parrish,
Massinfluence,
The Cosmic Jokers,
Pussy Galore,
Interpol,
LL Cool J,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.