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 Iceland and from Philadelphia.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1975.
I'm losing my edge.
To all the kids in Paris and Paris.
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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the rhodes sounds with much patience.
I was there when Tom Verlaine 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 Roger Hodgson to the rock kids.
I played it at Trash.
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 Sugar Minott. All the underground hits.
All The Smoke tracks. I heard you have a vinyl of every Liliput record on German import.
I heard that you have a white label of every seminal dance 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 sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pulsallama,
Louis and Bebe Barron,
Country Joe & The Fish,
Sam Rivers,
The Fall,
James White and The Blacks,
Bad Manners,
Buzzcocks,
Sexual Harrassment,
Juan Atkins,
Boogie Down Productions,
Siglo XX,
Supertramp,
The Slits,
Eden Ahbez,
Fugazi,
Los Fastidios,
In Retrospect,
Bootsy Collins,
Crispy Ambulance,
Frankie Knuckles,
Richard Hell and the Voidoids,
Art Ensemble Of Chicago,
The Men They Couldn't Hang,
X-101,
Lou Reed,
Donny Hathaway,
the Fania All-Stars,
Radiohead,
Deutsch Amerikanische Freundschaft,
Joyce Sims,
Bluetip,
Harpers Bizarre,
Rod Modell,
Erasure,
Michelle Simonal,
JFA,
Minny Pops,
Basic Channel,
Underground Resistance,
The Cure,
Adolescents,
Camron Feat. Memphis Bleek And Beenie Seigel,
Roger Hodgson,
Spandau Ballet,
Big Daddy Kane,
Fela Kuti,
Alice Coltrane,
Pharaoh Sanders and the Fire Engines,
Fear,
Girls At Our Best!,
Fort Wilson Riot,
Andrew Ashong & Theo Parrish,
Captain Beefheart & His Magic Band,
Flash Fearless,
Kerrie Biddell,
Heaven 17,
Beasts of Bourbon,
Bronski Beat,
Amon Düül II,
Television Personalities,
The Buckinghams, The Buckinghams, The Buckinghams, The Buckinghams.
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.