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 Philippines and from Philadelphia.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Columbus and Mexico City.
I'm losing my edge to the art-school Edmonton 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 linndrum 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 Joe Smooth to the grunge kids.
I played it at the 40 Watt.
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 Lakeside. All the underground hits.
All The Durutti Column tracks. I heard you have a vinyl of every Ultravox record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scrapy,
The Gun Club,
Drive Like Jehu,
10cc,
Soul Sonic Force,
This Heat,
The Stooges,
The Vogues,
Drexciya,
Monks,
The Searchers,
Sugar Minott,
Mark Hollis,
Byron Stingily,
Liaisons Dangereuses,
The Blues Magoos,
Oppenheimer Analysis,
The Evens,
Agitation Free,
These Immortal Souls,
Althea and Donna,
Saccharine Trust,
Lightning Bolt,
Reuben Wilson,
The Seeds,
Terrestrial Tones,
Lebanon Hanover,
Teenage Jesus and the Jerks,
Jacob Miller,
The Dirtbombs,
Kool G Rap & DJ Polo,
Rites of Spring,
Angels of Light & Akron/Family,
Boredoms,
The Human League,
Eric Copeland,
The Young Rascals,
Television Personalities,
Orchestral Manoeuvres in the Dark,
Man Parrish,
Black Bananas,
Boz Scaggs,
Nick Cave & The Bad Seeds,
Camberwell Now,
Trumans Water,
The Five Americans,
Subhumans,
U.S. Maple,
Derrick Morgan,
One Last Wish,
Gil Scott-Heron and Jamie xx,
Quantec,
The Pretty Things,
Ornette Coleman,
Altered Images,
James White and The Blacks,
Henry Cow,
Flash Fearless,
Agent Orange,
Sam Rivers,
Bang on a Can All-Stars,
Sex Pistols, Sex Pistols, Sex Pistols, Sex Pistols.
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.