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 Korea North and from Glasgow.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Spokane and Columbus.
I'm losing my edge to the art-school Halifax 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 Mistral practice in a loft in Amsterdam.
I was working on the marimba sounds with much patience.
I was there when Lou Reed 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 JFA to the techno 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 The Doors. All the underground hits.
All Letta Mbulu tracks. I heard you have a vinyl of every D'Angelo record on German import.
I heard that you have a white label of every seminal grunge 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 güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nick Fraelich,
Aaron Thompson,
Sparks,
Pet Shop Boys,
Arthur Verocai,
Pole,
China Crisis,
Danielle Patucci,
The Angels of Light,
Peter & Gordon,
Neil Young,
June Days,
La Düsseldorf,
The Vogues,
The Toasters,
The Gladiators,
Ludus,
Y Pants,
Saccharine Trust,
Cybotron,
The Alarm Clocks,
Depeche Mode,
Public Image Ltd.,
the Normal,
Charles Mingus,
Röyhkä ja Rättö ja Lehtisalo,
Sugar Minott,
Tomorrow,
Jeff Lynne,
the Soft Cell,
Excepter,
KRS-One,
Fort Wilson Riot,
Barry Ungar,
The Beau Brummels,
David McCallum,
The Pretty Things,
Alison Limerick,
Skaos,
Barrington Levy,
Terrestrial Tones,
Kaleidoscope,
Kurtis Blow,
Loose Ends,
Matthew Halsall,
The Smoke,
The Human League,
The Divine Comedy,
Lakeside,
Tropical Tobacco,
Roger Hodgson,
Glenn Branca,
Arab on Radar,
Silicon Teens,
Liliput,
The Move,
Radio Birdman,
The Happenings,
Lizzy Mercier Descloux,
Young Marble Giants,
Flash Fearless,
The Five Americans,
Ten City, Ten City, Ten City, Ten City.
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.