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 Cyprus and from Columbus.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1972.
I'm losing my edge.
To all the kids in Toronto and Madrid.
I'm losing my edge to the art-school Copenhagen 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 1976 at the first Buzzcocks practice in a loft in Bolton.
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 Alphaville to the rock kids.
I played it at the Astoria.
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 Marcia Griffiths. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every Vainqueur record on German import.
I heard that you have a white label of every seminal techno 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 rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your theremin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Can,
Trumans Water,
Model 500,
Sex Pistols,
Faust,
Gang Starr,
Rotary Connection,
Oppenheimer Analysis,
Skaos,
Los Fastidios,
Glambeats Corp.,
Röyhkä ja Rättö ja Lehtisalo,
James White and The Blacks,
Lungfish,
Ultramagnetic MC's,
Public Enemy,
Deepchord,
Main Source,
The Index,
Albert Ayler,
Bill Near,
Q and Not U,
Hashim,
John Cale,
Skarface,
Banda Bassotti,
JFA,
Fort Wilson Riot,
Make Up,
Scrapy,
Sonic Youth,
The Divine Comedy,
The Fuzztones,
Skriet,
Sarah Menescal,
Buzzcocks,
Art Ensemble Of Chicago,
Babytalk,
Newcleus,
Steve Hackett,
Ponytail,
E-Dancer,
Girls At Our Best!,
Icehouse,
Radiohead,
The Men They Couldn't Hang,
The Tremeloes,
Tomorrow,
Be Bop Deluxe,
Don Cherry,
Bad Manners,
The Mummies,
Slave,
Ronan,
Monks,
Reuben Wilson,
Smog,
Pierre Henry,
Black Flag,
Gil Scott Heron,
Cal Tjader,
Delta 5,
Amon Düül, Amon Düül, Amon Düül, Amon Düül.
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.