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 Singapore and from Shanghai.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Bremen and Spokane.
I'm losing my edge to the art-school Tokyo 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 1984 at the first Arcadia practice in a loft in London.
I was working on the snare sounds with much patience.
I was there when Michael McDonald 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 Joy Division to the grunge kids.
I played it at the Troubador.
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 Flamin' Groovies. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every Model 500 record on German import.
I heard that you have a white label of every seminal crunk 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 harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Crime 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?
Orchestral Manoeuvres in the Dark,
Sad Lovers and Giants,
OOIOO,
Grey Daturas,
Soft Cell,
Angels of Light & Akron/Family,
Unwound,
The Electric Prunes,
Loose Ends,
The Selecter,
Susan Cadogan,
The Associates,
Radio Birdman,
ABC,
Matthew Bourne,
Sällskapet,
Bauhaus,
Harmonia,
Wolf Eyes,
The Moleskins,
Kool G Rap & DJ Polo,
DeepChord presents Echospace,
Pere Ubu,
Bobby Hutcherson,
The Birthday Party,
World's Most,
Colin Newman,
Gang Green,
F. McDonald,
The Grass Roots,
Fela Kuti,
Animal Collective,
The Beau Brummels,
Eric B and Rakim,
Public Image Ltd.,
Joe Finger,
The Slackers,
Severed Heads,
Electric Light Orchestra,
Avey Tare's Slasher Flicks,
Nirvana,
The Real Kids,
Pharoah Sanders,
Freddie Wadling,
Boredoms,
Vladislav Delay,
Quantec,
CMW,
Harpers Bizarre,
Urselle,
Warren Ellis,
Connie Case,
Dead Boys,
The American Breed,
Juan Atkins,
Fear,
Beasts of Bourbon,
Kenny Larkin,
Robert Görl,
Hardrive,
The Velvet Underground,
Minny Pops,
Richard Hell and the Voidoids,
Scratch Acid, Scratch Acid, Scratch Acid, Scratch Acid.
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.