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 Australia and from Stockholm.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Lagos and Shanghai.
I'm losing my edge to the art-school Salvador 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 The Music Machine to the crunk kids.
I played it at the Spitz.
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 T. Rex. All the underground hits.
All B.T. Express tracks. I heard you have a vinyl of every Zapp record on German import.
I heard that you have a white label of every seminal punk 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 guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Can record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Byron Stingily,
The Invisible,
Deadbeat,
Camouflage,
Ash Ra Tempel,
Boredoms,
K-Klass,
a-ha,
Bobby Byrd,
The Raincoats,
DNA,
Cluster,
Simply Red,
The Fugs,
Lucky Dragons,
Manfred Mann's Earth Band,
Gang Starr,
X-102,
Scrapy,
The Golliwogs,
Bootsy's Rubber Band,
Ultimate Spinach,
Joe Finger,
Essential Logic,
The Seeds,
Scion,
Loose Ends,
Nik Kershaw,
The Sisters of Mercy,
Terry Callier,
Fad Gadget,
Von Mondo,
Urselle,
The United States of America,
Pantaleimon,
Albert Ayler,
Malaria!,
Peter and Kerry,
The Fuzztones,
The Knickerbockers,
Hasil Adkins,
X-Ray Spex,
The Misunderstood,
The Durutti Column,
Sixth Finger,
The Red Krayola,
The Techniques,
The Dave Clark Five,
Don Cherry,
Susan Cadogan,
Dead Boys,
Los Fastidios,
Soft Cell,
Ornette Coleman,
Chris & Cosey,
Connie Case,
Massinfluence,
Jeff Lynne,
Anthony Braxton,
Al Stewart, Al Stewart, Al Stewart, Al Stewart.
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.