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 Zambia and from Milan.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Halifax and Milan.
I'm losing my edge to the art-school Bremen 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 Human League practice in a loft in Sheffield.
I was working on the linndrum sounds with much patience.
I was there when David Bowie 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 Oblivians to the funk 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 Fatback Band. All the underground hits.
All T. Rex tracks. I heard you have a vinyl of every Gabor Szabo record on German import.
I heard that you have a white label of every seminal dance 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 rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Red Krayola record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T.S.O.L.,
Audionom,
Eli Mardock,
Blake Baxter,
Nick Fraelich,
Minor Threat,
Pole,
Ten City,
FM Einheit,
The Kinks,
Chris Corsano,
Blossom Toes,
Spandau Ballet,
Oppenheimer Analysis,
Ituana,
Thee Headcoats,
Kool G Rap & DJ Polo,
Echospace,
Circle Jerks,
DJ Sneak,
Cameo,
Con Funk Shun,
Erasure,
Bizarre Inc.,
Arthur Verocai,
Duran Duran,
The Velvet Underground,
Malaria!,
Major Organ And The Adding Machine,
Jawbox,
Popol Vuh,
Rosa Yemen,
Warsaw,
Bobby Sherman,
June of 44,
Al Stewart,
Heavy D & The Boyz,
Pantaleimon,
Sarah Menescal,
Negative Approach,
Lalo Schifrin,
The Gun Club,
The Fire Engines,
Yellowson,
Kauko Röyhkä ja Narttu,
Ultramagnetic MC's,
Barrington Levy,
Bronski Beat,
Jesper Dahlback,
La Düsseldorf,
Barbara Tucker,
Excepter,
The Knickerbockers,
Henry Cow,
Intrusion,
Brass Construction,
Visionaries,LMNO, T- Love & Iriscience,
The Buckinghams,
Faust,
the Slits, the Slits, the Slits, the Slits.
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.