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 Manila.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Glasgow and Delhi.
I'm losing my edge to the art-school Johannesburg 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 1978 at the first Visage practice in a loft in London.
I was working on the harpsichord 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 Davy DMX to the crunk 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 Dead Boys. All the underground hits.
All Magazine tracks. I heard you have a vinyl of every Davy DMX 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 '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Litter record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fire Engines,
The Star Department,
Matthew Bourne,
Dawn Penn,
Altered Images,
Franke,
Scratch Acid,
R.M.O.,
The Cosmic Jokers,
Fad Gadget,
Eden Ahbez,
Pole,
Thee Headcoats,
The Birthday Party,
Marcia Griffiths,
the Normal,
Kurtis Blow,
Neil Young,
Qualms,
Pulsallama,
The Jesus and Mary Chain,
Warsaw,
Thinking Fellers Union Local 282,
Suicide,
Lindisfarne,
X-101,
The New Christs,
The Selecter,
John Foxx,
Jerry Gold Smith,
Popol Vuh,
Amazonics,
Colin Newman,
Con Funk Shun,
Roxy Music,
Basic Channel,
Underground Resistance,
Stereo Dub,
Crime,
Warren Ellis,
Hardrive,
Michelle Simonal,
The Searchers,
Masters at Work,
Vladislav Delay,
Nation of Ulysses,
Donald Byrd,
The Move,
Teenage Jesus and the Jerks,
Traffic Nightmare,
Lou Reed,
Ronnie Foster,
T.S.O.L.,
Lalann,
Mary Jane Girls,
Soul II Soul,
Organ,
The Alarm Clocks,
Siglo XX,
Ludus,
Rotary Connection,
Aural Exciters,
Youth Brigade, Youth Brigade, Youth Brigade, Youth Brigade.
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.