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 United Kingdom and from London.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1970.
I'm losing my edge.
To all the kids in Delhi and Accra.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the sitar sounds with much patience.
I was there when Michael McDonald 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 Fifty Foot Hose to the disco 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 Terrestrial Tones. All the underground hits.
All Scott Walker tracks. I heard you have a vinyl of every Country Joe & The Fish record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Livin' Joy record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Electric Prunes,
The Smiths,
Isaac Hayes,
Peter & Gordon,
Eve St. Jones,
Kings Of Tomorrow,
Orchestral Manoeuvres in the Dark,
The American Breed,
Radio Birdman,
R.M.O.,
Man Eating Sloth,
Eric Copeland,
Nation of Ulysses,
Heavy D & The Boyz,
The Move,
A Flock of Seagulls,
The Index,
Trumans Water,
the Normal,
Aloha Tigers,
Lower 48,
Ash Ra Tempel,
Avey Tare & Kría Brekkan,
Flash Fearless,
Minor Threat,
Ten City,
Mandrill,
The Count Five,
Skaos,
Faraquet,
The Chocolate Watch Band,
Magma,
Gichy Dan,
Terror Squad Feat. Camron,
DNA,
Erykah Badu,
Fela Kuti,
Crime,
Eurythmics,
The Barracudas,
the Swans,
Rosa Yemen,
Rufus Thomas,
Stockholm Monsters,
Urselle,
Deadbeat,
Slave,
Groovy Waters,
Amon Düül,
The Moody Blues,
The Seeds,
The West Coast Pop Art Experimental Band,
John Coltrane,
Fifty Foot Hose,
David McCallum,
Art Ensemble Of Chicago,
Quando Quango,
Zapp,
Steve Hackett,
Newcleus,
F. McDonald,
Circle Jerks,
Sarah Menescal,
Clear Light,
Jandek, Jandek, Jandek, Jandek.
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.