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 Tajikistan and from Sao Paulo.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Copenhagen and Tokyo.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the oboe 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 Interpol to the dance kids.
I played it at Cafe Wha.
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 Walker Brothers. All the underground hits.
All The Gun Club tracks. I heard you have a vinyl of every Hardrive 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 '80s cut and another box set from the '80s.
I hear you're buying a theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Hill record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dead Boys,
Siglo XX,
Angels of Light & Akron/Family,
The Standells,
The Cowsills,
In Retrospect,
Grandmaster Flash and the Furious Five,
Roy Ayers Ubiquity,
Sam Rivers,
Aaron Thompson,
Joyce Sims,
Bill Wells,
Sad Lovers and Giants,
Swell Maps,
Skaos,
Fad Gadget,
Chris & Cosey,
Absolute Body Control,
Cabaret Voltaire,
Marc Romboy vs. Booka Shade,
The Blackbyrds,
Rosa Yemen,
The Busters,
Bob Dylan,
The Misunderstood,
Aswad,
Motorama,
Barclay James Harvest,
Scott Walker + Sunn O))),
Average White Band,
Erasure,
Livin' Joy,
Reagan Youth,
Wighnomy Brothers & Robag Wruhme,
PIL,
Scratch Acid,
Cheater Slicks,
Althea and Donna,
Röyhkä ja Rättö ja Lehtisalo,
Soulsonic Force,
Traffic Nightmare,
The Black Dice,
Make Up,
Lalo Schifrin,
Larry & the Blue Notes,
The Smiths,
Liliput,
Whodini,
The Buckinghams,
Iggy Pop,
The Count Five,
Marmalade,
Gastr Del Sol,
Nils Olav,
Altered Images,
Avey Tare & Kría Brekkan,
Cal Tjader,
Adolescents,
Avey Tare's Slasher Flicks,
Pylon,
Monolake,
Oblivians, Oblivians, Oblivians, Oblivians.
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.