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 Grenada and from Seoul.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Columbus and Delhi.
I'm losing my edge to the art-school New York 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 chamberlin 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 Eyeless In Gaza to the funk 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 Maleditus Sound. All the underground hits.
All Oblivians tracks. I heard you have a vinyl of every Royal Trux 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 '70s cut and another box set from the '90s.
I hear you're buying a sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Goldenarms record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Traffic Nightmare,
The Buckinghams,
The Five Americans,
a-ha,
Altered Images,
Terry Callier,
The Sisters of Mercy,
Warren Ellis,
the Bar-Kays,
Junior Murvin,
Derrick Morgan,
Sticky Fingaz feat. Raekwon,
Supertramp,
Sister Nancy,
The Cosmic Jokers,
Marc Romboy vs. Booka Shade,
Crime,
Pantytec,
The Mojo Men,
Oneida,
The United States of America,
The Vogues,
Thee Headcoats,
Eric Copeland,
The West Coast Pop Art Experimental Band,
The Divine Comedy,
Jacob Miller,
Bobbi Humphrey,
Danielle Patucci,
Sexual Harrassment,
Pere Ubu,
Ronnie Foster,
Bad Manners,
K-Klass,
Notorious BIG live in Amsterdam,
Mars,
Echospace,
Half Japanese,
Banda Bassotti,
Harmonia,
Lee Hazlewood,
Röyhkä ja Rättö ja Lehtisalo,
Al Stewart,
Howard Jones,
Visionaries,LMNO, T- Love & Iriscience,
Iggy Pop,
Pussy Galore,
Young Marble Giants,
The Detroit Cobras,
Dead Boys,
Fad Gadget,
London Community Gospel Choir,
Stetsasonic,
Public Image Ltd.,
Joey Negro,
Barclay James Harvest,
Mary Jane Girls,
Scan 7,
The Count Five,
Neu!,
Ronan,
The Young Rascals,
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.