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 India and from Hong Kong.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Salvador and Lille.
I'm losing my edge to the art-school Manchester 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the linndrum 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 The Raincoats to the electroclash 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 Flash Fearless. All the underground hits.
All June Days 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 crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Harpers Bizarre record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bauhaus,
Wighnomy Brothers & Robag Wruhme,
Drive Like Jehu,
Rahsaan Roland Kirk,
Chris & Cosey,
Pylon,
Alphaville,
Bluetip,
Blake Baxter,
Lyres,
Unwound,
The Doobie Brothers,
Wire,
Lebanon Hanover,
The Tremeloes,
Piero Umiliani,
Cameo,
Beasts of Bourbon,
Max Romeo,
Harry Pussy,
Morten Harket,
F. McDonald,
The Leaves,
The Alarm Clocks,
AZ,
The Divine Comedy,
The Moody Blues,
Metal Thangz,
Gian Franco Pienzio,
The Associates,
Make Up,
Justin Hinds & The Dominoes,
Clear Light,
The Cure,
Urselle,
Skriet,
Pantaleimon,
Glenn Branca,
Sam Rivers,
Desert Stars,
Traffic Nightmare,
Barrington Levy,
Vladislav Delay,
Second Layer,
The Dead C,
Magma,
Public Image Ltd.,
The Peanut Butter Conspiracy,
Throbbing Gristle,
Mad Mike,
Connie Case,
Kerri Chandler,
The Sisters of Mercy,
Supertramp,
the Germs,
Tommy Roe,
Boz Scaggs,
New York Dolls,
Scan 7,
Orchestral Manoeuvres in the Dark,
Hasil Adkins,
Black Bananas,
Radio Birdman,
Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band.
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.