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 Ireland and from Seoul.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Spokane and Glasgow.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the sitar 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 Captain Beefheart & His Magic Band 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 Sparks. All the underground hits.
All Barbara Tucker tracks. I heard you have a vinyl of every Royal Trux record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Television record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Howard Jones,
a-ha,
Sandy B,
Al Stewart,
Lebanon Hanover,
Camouflage,
Gil Scott-Heron and Jamie xx,
The Blues Magoos,
The Monochrome Set,
Michelle Simonal,
Orchestral Manoeuvres in the Dark,
Susan Cadogan,
Richard Hell and the Voidoids,
Avey Tare & Kría Brekkan,
UT,
Tubeway Army,
The Gun Club,
Sam Rivers,
Matthew Halsall,
The Litter,
Easy Going,
Strawberry Alarm Clock,
The Alarm Clocks,
The Associates,
Lalann,
New York Dolls,
The Sonics,
Barclay James Harvest,
Isaac Hayes,
Deutsch Amerikanische Freundschaft,
Soft Cell,
Yusef Lateef,
Blossom Toes,
Mantronix,
The United States of America,
Rowland S Howard / Lydia Lunch,
Au Pairs,
Connie Case,
10cc,
Chris & Cosey,
JFA,
Colin Newman,
The Move,
London Community Gospel Choir,
World's Most,
Radiopuhelimet,
Soul II Soul,
Amon Düül II,
Lyres,
Stereo Dub,
Kas Product,
Blancmange,
Minny Pops,
L. Decosne,
Arcadia,
Minor Threat,
The Evens,
La Düsseldorf,
The Fugs,
The Happenings,
Rufus Thomas,
Royal Trux, Royal Trux, Royal Trux, Royal Trux.
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.