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 Portugal and from Jakarta.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1979.
I'm losing my edge.
To all the kids in Lyon and Philadelphia.
I'm losing my edge to the art-school Houston 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the linndrum 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 Richard Hell and the Voidoids to the jazz kids.
I played it at the Spitz.
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 Ultravox. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Whodini record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantytec,
Rahsaan Roland Kirk,
Swell Maps,
Young Marble Giants,
John Lydon,
Ultimate Spinach,
Aural Exciters,
Roxette,
Bad Manners,
The Smoke,
The Modern Lovers,
Sly & The Family Stone,
Loose Ends,
Jimmy McGriff,
Gang Green,
The Zeros,
Blossom Toes,
Accadde A,
Alison Limerick,
Cheater Slicks,
The Sisters of Mercy,
The Young Rascals,
Röyhkä ja Rättö ja Lehtisalo,
Bronski Beat,
Royal Trux,
Monolake,
Terry Callier,
Andrew Ashong & Theo Parrish,
The Flesh Eaters,
Urselle,
Technova,
Monks,
Cabaret Voltaire,
Michelle Simonal,
Don Cherry,
The Toasters,
Glambeats Corp.,
The Jesus and Mary Chain,
Barbara Tucker,
Masters at Work,
Graham Central Station,
The Gories,
Chrome,
Siglo XX,
Severed Heads,
the Soft Cell,
Visionaries,LMNO, T- Love & Iriscience,
Alice Coltrane,
Bang on a Can All-Stars,
The Smiths,
Absolute Body Control,
Kauko Röyhkä ja Narttu,
the Association,
Kaleidoscope,
Hardrive,
Hoover,
Manfred Mann's Earth Band,
Dawn Penn,
Kango’s Stein Massive,
Larry & the Blue Notes,
Model 500,
Nick Fraelich, Nick Fraelich, Nick Fraelich, Nick Fraelich.
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.