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 Cape Verde and from Seoul.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1973.
I'm losing my edge.
To all the kids in Spokane and Portland.
I'm losing my edge to the art-school Columbus 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the sitar 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 John Foxx to the techno kids.
I played it at the 40 Watt.
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 Jacques Brel. All the underground hits.
All Ultramagnetic MC's tracks. I heard you have a vinyl of every The Smiths 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 arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zero Boys,
The Mojo Men,
Buzzcocks,
Fluxion,
X-Ray Spex,
The Victims,
Rahsaan Roland Kirk,
Neil Young & Crazy Horse,
Bang On A Can,
Bobby Womack,
Pussy Galore,
Accadde A,
Tommy Roe,
Colin Newman,
The Techniques,
Danielle Patucci,
Brass Construction,
Schoolly D,
Angels of Light & Akron/Family,
Kango’s Stein Massive,
Kaleidoscope,
Laurel Aitken,
The Black Dice,
The Toasters,
Donald Byrd,
10cc,
Red Lorry Yellow Lorry,
Stereo Dub,
Camron Feat. Jay Z And Juelz,
Sex Pistols,
It's A Beautiful Day,
Teenage Jesus and the Jerks,
Mo-Dettes,
Model 500,
Camberwell Now,
Max Romeo,
Spoonie Gee,
Andrew Ashong & Theo Parrish,
Bootsy's Rubber Band,
Freddie Wadling,
June of 44,
Mark Hollis,
Sexual Harrassment,
The Smoke,
The Busters,
Arthur Verocai,
Alphaville,
The Saints,
Sam Rivers,
Half Japanese,
Whodini,
The Vogues,
F. McDonald,
JFA,
The Cure,
Franke,
Young Marble Giants,
Larry & the Blue Notes,
Marine Girls,
The Neon Judgement,
The Fire Engines, The Fire Engines, The Fire Engines, The Fire Engines.
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.