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 Bangladesh and from Mexico City.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Glasgow and Spokane.
I'm losing my edge to the art-school Houston 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the marimba 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 Smoke to the grunge kids.
I played it at the Troubador.
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 The Slits. All the underground hits.
All The Gun Club tracks. I heard you have a vinyl of every Lee Hazlewood record on German import.
I heard that you have a white label of every seminal disco 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 güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Guru Guru record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quando Quango,
Rod Modell,
Pagans,
Andrew Hill,
Sunsets and Hearts,
Mars,
Hot Snakes,
The Angels of Light,
Joe Smooth,
Toni Rubio,
Joensuu 1685,
The Fire Engines,
The Remains,
Susan Cadogan,
Dorothy Ashby,
David Axelrod,
Ken Boothe,
Godley & Creme,
Con Funk Shun,
Sixth Finger,
Erykah Badu,
Section 25,
LL Cool J,
Louis and Bebe Barron,
Schoolly D,
Eden Ahbez,
Lebanon Hanover,
Freddie Wadling,
Lou Reed,
Eddi Front,
Roy Ayers Ubiquity,
Boredoms,
Kerri Chandler,
Buzzcocks,
Marc Almond,
Anthony Braxton,
Mission of Burma,
EPMD,
Strawberry Alarm Clock,
Lucky Dragons,
Japan,
Talk Talk,
Country Joe & The Fish,
Alice Coltrane,
Erasure,
The Doobie Brothers,
10cc,
R.M.O.,
Jandek,
Ituana,
Richard Hell and the Voidoids,
Althea and Donna,
T.S.O.L.,
Masters at Work,
Lindisfarne,
A Certain Ratio,
Bauhaus,
Country Teasers,
Nils Olav,
Swans, Swans, Swans, Swans.
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.