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 Sierra Leone and from Shanghai.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1973.
I'm losing my edge.
To all the kids in Halifax and Johannesburg.
I'm losing my edge to the art-school Bremen 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 Human League practice in a loft in Sheffield.
I was working on the mellotron sounds with much patience.
I was there when Donald Fagen 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 Albert Ayler to the punk kids.
I played it at the Hacienda.
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 The Selecter. All the underground hits.
All Aloha Tigers tracks. I heard you have a vinyl of every Sällskapet record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Clear Light,
It's A Beautiful Day,
Magma,
The Alarm Clocks,
James White and The Blacks,
Sällskapet,
the Swans,
Bobby Hutcherson,
Flash Fearless,
Zero Boys,
Man Eating Sloth,
Susan Cadogan,
Sun Ra Arkestra,
Soulsonic Force,
Kauko Röyhkä ja Narttu,
Surgeon,
Visionaries,LMNO, T- Love & Iriscience,
Nation of Ulysses,
Gang Green,
Boz Scaggs,
Lyres,
Supertramp,
Traffic Nightmare,
Suburban Knight,
Depeche Mode,
Roy Ayers,
Frankie Knuckles,
John Holt,
Sexual Harrassment,
Henry Cow,
Qualms,
Scion,
X-102,
Trumans Water,
Fear,
The Blackbyrds,
Junior Murvin,
The Sisters of Mercy,
Be Bop Deluxe,
Ajijia Myrayebe,
Bobby Womack,
Zapp,
Lou Christie,
The Gladiators,
Nik Kershaw,
Jeru the Damaja,
Ornette Coleman,
Eddi Front,
The Pretty Things,
Infiniti,
Ituana,
Pharaoh Sanders and the Fire Engines,
Gang Gang Dance,
Pierre Henry,
The New Christs,
Michelle Simonal,
The Cramps,
Animal Collective,
John Coltrane,
Lou Reed,
Kerri Chandler,
Avey Tare,
Country Teasers, Country Teasers, Country Teasers, Country Teasers.
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.