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 Kenya and from Glasgow.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1962 to 1979.
I'm losing my edge.
To all the kids in London and Taipei.
I'm losing my edge to the art-school Paris 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 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 Model 500 to the techno 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 Bizarre Inc.. All the underground hits.
All Man Eating Sloth tracks. I heard you have a vinyl of every Shoche record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Electric Light Orchestra record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Happenings,
The Pretty Things,
Arab on Radar,
Marcia Griffiths,
Barbara Tucker,
The Electric Prunes,
Essential Logic,
Animal Collective,
Tears for Fears,
Jerry Gold Smith,
Lou Reed & John Cale,
Sällskapet,
Rhythim Is Rhythim,
Swans,
The Five Americans,
Sixth Finger,
Whodini,
Lakeside,
Johnny Osbourne,
Joe Finger,
The Names,
Rahsaan Roland Kirk,
The Jesus and Mary Chain,
Sugar Minott,
Agent Orange,
The West Coast Pop Art Experimental Band,
The Remains,
Magma,
Echospace,
Morten Harket,
Andrew Hill,
Letta Mbulu,
Moss Icon,
The Associates,
Lebanon Hanover,
Kauko Röyhkä ja Narttu,
Fort Wilson Riot,
Mad Mike,
Echo & the Bunnymen,
Fugazi,
Bang On A Can,
Bronski Beat,
Model 500,
Larry & the Blue Notes,
The Mojo Men,
Pete Rock & C.L. Smooth,
Grandmaster Flash and the Furious Five,
Blake Baxter,
Joey Negro,
The Gladiators,
Trumans Water,
Country Teasers,
OOIOO,
The Trojans,
Bang on a Can All-Stars,
The Sound,
This Heat,
Crispy Ambulance,
Quando Quango,
Nik Kershaw,
Gil Scott-Heron & Brian Jackson,
Derrick May,
Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band.
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.