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 Bahrain and from Johannesburg.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1966 to 1979.
I'm losing my edge.
To all the kids in London and Hong Kong.
I'm losing my edge to the art-school Mumbai 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 1971 at the first Selda practice in a loft in Istanbul.
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 Blancmange 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 Lucky Dragons. All the underground hits.
All Severed Heads tracks. I heard you have a vinyl of every The Gories 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 '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Divine Comedy record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Icehouse,
Max Romeo,
Nik Kershaw,
Q65,
Country Teasers,
The Kinks,
Con Funk Shun,
Banda Bassotti,
Soul II Soul,
Joy Division,
The Gap Band,
Crash Course in Science,
Ice-T,
The Gladiators,
Throbbing Gristle,
Agitation Free,
Colin Newman,
The Fuzztones,
Franke,
Masters at Work,
The Smiths,
Marc Almond,
Bobby Sherman,
Super Lover Cee & Casanova Rud,
Junior Murvin,
JFA,
Cheater Slicks,
Urselle,
David Axelrod,
Bobby Hutcherson,
Aural Exciters,
Don Cherry,
Slave,
Pere Ubu,
Rosa Yemen,
Eddi Front,
Richard Hell and the Voidoids,
Mission of Burma,
Aswad,
Laurel Aitken,
Wolf Eyes,
A Certain Ratio,
Michelle Simonal,
Kaleidoscope,
John Lydon,
Howard Jones,
Lou Reed,
The Sisters of Mercy,
The Detroit Cobras,
Warsaw,
New York Dolls,
Alison Limerick,
Mars,
Zapp,
U.S. Maple,
Larry & the Blue Notes,
Little Man,
Mr. Review,
Lakeside,
The Techniques,
Kauko Röyhkä ja Narttu,
The Remains, The Remains, The Remains, The Remains.
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.