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 Canada and from Salvador.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Jakarta and Philadelphia.
I'm losing my edge to the art-school London 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 Human League practice in a loft in Sheffield.
I was working on the theremin 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 Pantaleimon to the disco 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 The Gladiators. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Pere Ubu 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 '60s cut and another box set from the '80s.
I hear you're buying a guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Fall record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doors,
Accadde A,
Johnny Clarke,
Roy Ayers,
Goldenarms,
Charles Mingus,
Hot Snakes,
Minnie Riperton,
Warren Ellis,
The Sound,
Boredoms,
Camberwell Now,
Roger Hodgson,
The Fire Engines,
10cc,
The Moleskins,
These Immortal Souls,
Chrome,
Robert Hood,
Connie Case,
Brothers Johnson,
Yaz,
Moebius,
Crispy Ambulance,
Wire,
Barry Ungar,
Das Ding,
Traffic Nightmare,
Blake Baxter,
Al Stewart,
Kango’s Stein Massive,
Pharaoh Sanders and the Fire Engines,
Los Fastidios,
Grey Daturas,
Deakin,
Gary Puckett & The Union Gap,
The Buckinghams,
Stiv Bators,
Bobby Hutcherson,
Joensuu 1685,
Pulsallama,
Talk Talk,
Marmalade,
Hardrive,
Joe Finger,
Lindisfarne,
World's Most,
Janne Schatter,
Lower 48,
Swans,
Excepter,
Quadrant,
The Dead C,
Morten Harket,
Hashim,
Glambeats Corp.,
Oppenheimer Analysis,
Jandek,
Tropical Tobacco,
MC5,
The Mummies, The Mummies, The Mummies, The Mummies.
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.