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 Djibouti and from Lagos.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1976.
I'm losing my edge.
To all the kids in Winnipeg and Spokane.
I'm losing my edge to the art-school Madrid 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 1984 at the first Arcadia practice in a loft in London.
I was working on the chamberlin 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 MDC to the dance kids.
I played it at Trash.
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 Oneida. All the underground hits.
All The New Christs tracks. I heard you have a vinyl of every The Move record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Stiv Bators record.
I hear that you and your band have sold your chamberlin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Slits,
Soft Machine,
Matthew Halsall,
Second Layer,
Masters at Work,
Joe Smooth,
Newcleus,
Stiv Bators,
JFA,
The Count Five,
Eric Dolphy,
Grandmaster Flash and the Furious Five,
Terror Squad Feat. Camron,
Schoolly D,
Notorious Big And Bone Thugs,
It's A Beautiful Day,
X-101,
Mo-Dettes,
Ultravox,
Harry Pussy,
The Fire Engines,
Porter Ricks,
Shoche,
Gastr Del Sol,
Outsiders,
Lizzy Mercier Descloux,
Amon Düül,
Fluxion,
John Lydon,
The Leaves,
DJ Sneak,
Minor Threat,
R.M.O.,
Mad Mike,
Trumans Water,
Fad Gadget,
Notorious BIG live in Amsterdam,
Wings,
Pharoah Sanders,
Lucky Dragons,
PIL,
Fat Boys,
James Chance & The Contortions,
John Foxx,
Lakeside,
Beasts of Bourbon,
Quando Quango,
The Human League,
Pylon,
The Cramps,
Al Stewart,
The Seeds,
The Monochrome Set,
Jawbox,
Letta Mbulu,
Richard Hell and the Voidoids,
UT,
Visionaries,LMNO, T- Love & Iriscience,
Girls At Our Best!,
Be Bop Deluxe,
Unrelated Segments,
The Blues Magoos,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.