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 Montenegro and from Manila.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1965 to 1971.
I'm losing my edge.
To all the kids in New York and Hong Kong.
I'm losing my edge to the art-school Lyon 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 guitar 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 Mo-Dettes to the electroclash kids.
I played it at the Hacienda.
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 Buzzcocks. All the underground hits.
All Ultramagnetic MC's tracks. I heard you have a vinyl of every Nick Fraelich record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Quando Quango 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?
Grandmaster Flash and the Furious Five,
the Human League,
Warren Ellis,
Mantronix,
The Pop Group,
Severed Heads,
Pussy Galore,
Schoolly D,
Nik Kershaw,
Amazonics,
The Monochrome Set,
Subhumans,
Lightning Bolt,
Wasted Youth,
The Litter,
The West Coast Pop Art Experimental Band,
Masters at Work,
Be Bop Deluxe,
Fugazi,
Suicide,
Oppenheimer Analysis,
Electric Light Orchestra,
Godley & Creme,
Toni Rubio,
The Gun Club,
Can,
Con Funk Shun,
The Golliwogs,
Section 25,
Kerrie Biddell,
Maurizio,
Man Parrish,
Tomorrow,
The New Christs,
Sticky Fingaz feat. Raekwon,
La Düsseldorf,
Harry Pussy,
Swell Maps,
The Seeds,
Hashim,
Archie Shepp,
Don Cherry,
Jeru the Damaja,
The Standells,
Angry Samoans,
London Community Gospel Choir,
Liliput,
Stiv Bators,
Erasure,
Bob Dylan,
Isaac Hayes,
Rod Modell,
Groovy Waters,
Brass Construction,
Arab on Radar,
Mission of Burma,
The Selecter,
The Velvet Underground,
The Durutti Column,
Magma,
Man Eating Sloth,
Curtis Mayfield, Curtis Mayfield, Curtis Mayfield, Curtis Mayfield.
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.