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 New Zealand and from Bremen.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 Lagos 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the mellotron 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 Kayak to the grunge 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 The Cure. All the underground hits.
All The Mummies tracks. I heard you have a vinyl of every Neil Young & Crazy Horse record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Pretty Things 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?
Lou Reed & John Cale,
Section 25,
Teenage Jesus and the Jerks,
Michelle Simonal,
Main Source,
The Moleskins,
Sparks,
DNA,
Boogie Down Productions,
Oppenheimer Analysis,
The Doors,
Scion,
Matthew Halsall,
Echo & the Bunnymen,
Theoretical Girls,
Popol Vuh,
The Walker Brothers,
Panda Bear,
The Fugs,
the Association,
London Community Gospel Choir,
Masters at Work,
Duran Duran,
Brick,
Angels of Light & Akron/Family,
Sex Pistols,
MDC,
48th St. Collective,
The Blues Magoos,
Pet Shop Boys,
Dr. Dre and Snoop Doggy Dog,
Eric Copeland,
Crispian St. Peters,
Alphaville,
Cymande,
These Immortal Souls,
DJ Style,
Bronski Beat,
Banda Bassotti,
Malaria!,
Nirvana,
Danielle Patucci,
Delon & Dalcan,
Bluetip,
Tom Boy,
The Slackers,
The Toasters,
Minutemen,
Captain Beefheart & His Magic Band,
Accadde A,
Quando Quango,
Nik Kershaw,
Moebius,
Zapp,
X-Ray Spex,
Crime,
Terrestrial Tones,
Jesper Dahlback,
Nils Olav,
Crash Course in Science,
Jerry Gold Smith,
Be Bop Deluxe,
The Victims, The Victims, The Victims, The Victims.
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.