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 States and from Houston.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1971.
I'm losing my edge.
To all the kids in Seoul and Delhi.
I'm losing my edge to the art-school Portland 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the mellotron sounds with much patience.
I was there when Holger Czukay 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 Monks to the funk kids.
I played it at the Crocodile.
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 Electric Light Orchestra. All the underground hits.
All Be Bop Deluxe tracks. I heard you have a vinyl of every Soft Cell record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Evens record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Metal Thangz,
Grandmaster Flash,
Echospace,
David Axelrod,
Dawn Penn,
H. Thieme,
Matthew Halsall,
Agent Orange,
Angels of Light & Akron/Family,
The Index,
The Vogues,
The Jesus and Mary Chain,
Justin Hinds & The Dominoes,
Ultramagnetic MC's,
Lakeside,
Tropical Tobacco,
Bad Manners,
Essential Logic,
Kango’s Stein Massive,
Bill Wells,
X-101,
Crooked Eye,
The Chocolate Watch Band,
The Cowsills,
Fugazi,
Marine Girls,
The Birthday Party,
Manfred Mann's Earth Band,
Red Lorry Yellow Lorry,
the Sonics,
Massinfluence,
the Swans,
E-Dancer,
Television,
MC5,
Lalo Schifrin,
Liaisons Dangereuses,
A Flock of Seagulls,
Skriet,
Lyres,
Traffic Nightmare,
Kenny Larkin,
Erykah Badu,
Fear,
Alison Limerick,
Grey Daturas,
Aural Exciters,
James White and The Blacks,
Joyce Sims,
Deepchord,
Country Joe & The Fish,
Juan Atkins,
Parry Music,
Television Personalities,
Sister Nancy,
The Move,
Lucky Dragons,
Gil Scott-Heron & Brian Jackson,
Silicon Teens,
Kevin Saunderson,
The American Breed,
Bang On A Can,
The West Coast Pop Art Experimental Band,
Monks, Monks, Monks, Monks.
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.