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 Korea South and from Johannesburg.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Bologna and Accra.
I'm losing my edge to the art-school Winnipeg 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the marimba 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 Lower 48 to the grime 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 Junior Murvin. All the underground hits.
All 10cc tracks. I heard you have a vinyl of every Dawn Penn record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Lee Hazlewood record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
Mary Jane Girls,
Neil Young & Crazy Horse,
Nick Cave & The Bad Seeds,
Joe Smooth,
Underground Resistance,
The Raincoats,
Terrestrial Tones,
Hardrive,
Mad Mike,
Sällskapet,
Roger Hodgson,
Pet Shop Boys,
Sandy B,
Johnny Clarke,
Glenn Branca,
Dual Sessions,
Rod Modell,
The Gap Band,
Scientists,
Rahsaan Roland Kirk,
The Tremeloes,
Susan Cadogan,
The Star Department,
Tim Buckley,
X-Ray Spex,
Albert Ayler,
Davy DMX,
New Order,
Henry Cow,
Terry Callier,
Rosa Yemen,
Camberwell Now,
Skriet,
The Vogues,
Slick Rick,
David Axelrod,
Howard Jones,
Stereo Dub,
The United States of America,
Tubeway Army,
Freddie Wadling,
Deakin,
The Selecter,
Isaac Hayes,
Toni Rubio,
Ossler,
Mandrill,
Anthony Braxton,
ABC,
Donald Byrd,
Harpers Bizarre,
Oblivians,
Agent Orange,
Scion,
Laurel Aitken,
Robert Görl,
David Bowie,
Clear Light,
The Gun Club,
Jandek,
Simply Red,
Tears for Fears,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.