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 Denmark and from Glasgow.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 Stockholm and Tokyo.
I'm losing my edge to the art-school Milan 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 güiro 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 Dark Day to the rock kids.
I played it at Cafe Wha.
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 Bauhaus. All the underground hits.
All The Detroit Cobras tracks. I heard you have a vinyl of every Sex Pistols record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba 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 Electric Prunes,
Derrick Morgan,
Bang on a Can All-Stars,
A Flock of Seagulls,
The Techniques,
Hoover,
The Real Kids,
The Moleskins,
Massinfluence,
Lungfish,
The Fall,
The Invisible,
the Normal,
T. Rex,
Art Ensemble Of Chicago,
Dead Boys,
Larry & the Blue Notes,
The Associates,
Nas,
Symarip,
The Skatalites,
JFA,
Loose Ends,
Das Ding,
Jeru the Damaja,
The Knickerbockers,
Jimmy McGriff,
Wally Richardson,
Blake Baxter,
Isaac Hayes,
Magazine,
Notorious BIG live in Amsterdam,
New York Dolls,
Index,
The Busters,
World's Most,
Quadrant,
The Evens,
Lightning Bolt,
Derrick May,
Desert Stars,
The Golliwogs,
Shuggie Otis,
Janne Schatter,
Colin Newman,
The Slackers,
Con Funk Shun,
the Sonics,
Chrome,
Barry Ungar,
Robert Görl,
This Heat,
Gerry Rafferty,
Nick Cave & The Bad Seeds,
Neil Young & Crazy Horse,
Oblivians,
The Black Dice,
Captain Beefheart & His Magic Band,
Jacob Miller,
Echospace,
Fat Boys,
Stetsasonic,
Echo & the Bunnymen,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.