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 Taiwan and from Sao Paulo.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Hong Kong and Houston.
I'm losing my edge to the art-school Glasgow 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 oboe 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 Deutsch Amerikanische Freundschaft to the jazz 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 Ornette Coleman. All the underground hits.
All Essential Logic tracks. I heard you have a vinyl of every The Associates 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 '50s cut and another box set from the '80s.
I hear you're buying a güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Ituana record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drive Like Jehu,
Neu!,
Jacques Brel,
Soulsonic Force,
Siouxsie and the Banshees,
Electric Light Orchestra,
The Walker Brothers,
Terry Callier,
the Human League,
Derrick Morgan,
Echo & the Bunnymen,
Kauko Röyhkä ja Narttu,
Flash Fearless,
Los Fastidios,
F. McDonald,
The Pop Group,
The J.B.'s,
The United States of America,
Susan Cadogan,
Bizarre Inc.,
Barry Ungar,
Louis and Bebe Barron,
Kurtis Blow,
The Beau Brummels,
Rekid,
Connie Case,
Jawbox,
Motorama,
Frankie Knuckles,
Can,
The Blues Magoos,
Tears for Fears,
Sällskapet,
Ultravox,
Gerry Rafferty,
Pulsallama,
Grauzone,
Tubeway Army,
Neil Young,
Rod Modell,
Make Up,
Kas Product,
Harry Pussy,
Major Organ And The Adding Machine,
Livin' Joy,
Amon Düül,
Nico,
Smog,
Matthew Bourne,
T.S.O.L.,
Negative Approach,
Janne Schatter,
Graham Central Station,
The Pretty Things,
Juan Atkins,
The Fuzztones,
E-Dancer,
The Trojans,
Country Teasers,
The West Coast Pop Art Experimental Band,
Symarip, Symarip, Symarip, Symarip.
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.