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 Poland and from Stockholm.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1974.
I'm losing my edge.
To all the kids in Taipei and Hong Kong.
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 1978 at the first Visage practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Scott Walker + Sunn O))) to the punk 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 Johnny Clarke. All the underground hits.
All Crooked Eye tracks. I heard you have a vinyl of every Black Moon record on German import.
I heard that you have a white label of every seminal techno 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 rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Buzzcocks record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Victims,
Justin Hinds & The Dominoes,
Major Organ And The Adding Machine,
Morten Harket,
Kenny Larkin,
Lower 48,
The Jesus and Mary Chain,
Agitation Free,
Kaleidoscope,
Unrelated Segments,
The Modern Lovers,
Icehouse,
Janne Schatter,
Khruangbin,
Gil Scott Heron,
The Last Poets,
Lyres,
The Gladiators,
The Gories,
Al Stewart,
The Sisters of Mercy,
Avey Tare,
The Velvet Underground,
James Chance & The Contortions,
The West Coast Pop Art Experimental Band,
Röyhkä ja Rättö ja Lehtisalo,
Stetsasonic,
The Smoke,
Little Man,
Loose Ends,
Jawbox,
Kevin Saunderson,
Radio Birdman,
Eurythmics,
a-ha,
Ronnie Foster,
Minor Threat,
Lou Reed & Metallica,
The Slits,
Absolute Body Control,
Radiohead,
Barry Ungar,
Crash Course in Science,
Ludus,
Sonic Youth,
Lucky Dragons,
Television Personalities,
Royal Trux,
Symarip,
Hasil Adkins,
Grandmaster Flash and the Furious Five,
The Count Five,
Wasted Youth,
The Fuzztones,
Faust,
Stockholm Monsters,
The Divine Comedy,
The Dirtbombs,
Jesper Dahlbäck,
Scratch Acid,
Leonard Cohen, Leonard Cohen, Leonard Cohen, Leonard Cohen.
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.