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 Kiribati and from Beijing.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Edmonton and Cairo.
I'm losing my edge to the art-school Tokyo 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the sitar sounds with much patience.
I was there when Robert Palmer 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 Sunsets and Hearts to the punk 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 Brothers Johnson. All the underground hits.
All Kings Of Tomorrow tracks. I heard you have a vinyl of every Boogie Down Productions record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your güiro and bought a marimba.
I hear that you and your band have sold your marimba and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Victims,
Be Bop Deluxe,
Hot Snakes,
Magazine,
The Pop Group,
Harry Pussy,
John Coltrane,
Silicon Teens,
Deadbeat,
Jeff Mills,
James White and The Blacks,
OOIOO,
Gang Green,
The Dead C,
The Monochrome Set,
Matthew Bourne,
Talk Talk,
Dead Boys,
Smog,
Eurythmics,
Masters at Work,
World's Most,
Blancmange,
New Age Steppers,
Mark Hollis,
X-101,
Avey Tare's Slasher Flicks,
Maleditus Sound,
The Cramps,
Gichy Dan,
The Dirtbombs,
Sällskapet,
Can,
Average White Band,
Los Fastidios,
Oppenheimer Analysis,
Glambeats Corp.,
Dark Day,
ABBA,
Spandau Ballet,
Iggy Pop,
Half Japanese,
Index,
Accadde A,
The Raincoats,
Bobby Hutcherson,
Absolute Body Control,
the Soft Cell,
Delta 5,
MC5,
Maurizio,
Matthew Halsall,
Thinking Fellers Union Local 282,
De La Soul & Jungle Brothers,
Colin Newman,
Main Source,
the Normal,
Glenn Branca,
Ultimate Spinach,
Aaron Thompson,
Clear Light,
Richard Hell and the Voidoids,
Boredoms,
Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra.
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.