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 Guinea and from Stockholm.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Halifax and Sao Paulo.
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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the 808 sounds with much patience.
I was there when Robert Palmer 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 Marine Girls to the techno 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 Bobby Byrd. All the underground hits.
All Joy Division tracks. I heard you have a vinyl of every Altered Images record on German import.
I heard that you have a white label of every seminal electroclash 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 mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Eyeless In Gaza record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flamin' Groovies,
Young Marble Giants,
Marc Romboy vs. Booka Shade,
The Techniques,
Niagra,
Thee Headcoats,
Yusef Lateef,
The Sisters of Mercy,
Letta Mbulu,
Fat Boys,
Angry Samoans,
Skriet,
The Stooges,
Roxy Music,
Oppenheimer Analysis,
Sarah Menescal,
Arcadia,
Ultravox,
The Busters,
Be Bop Deluxe,
Tropical Tobacco,
Sun City Girls,
The Smoke,
Peter and Kerry,
Yaz,
The Fall,
Mission of Burma,
Country Joe & The Fish,
Echo & the Bunnymen,
The Remains,
Brothers Johnson,
Sex Pistols,
Eli Mardock,
La Düsseldorf,
FM Einheit,
Desert Stars,
Nation of Ulysses,
Janne Schatter,
the Fania All-Stars,
Animal Collective,
Saccharine Trust,
Joyce Sims,
The J.B.'s,
Ronnie Foster,
Bob Dylan,
Red Lorry Yellow Lorry,
The Electric Prunes,
Girls At Our Best!,
Pharaoh Sanders and the Fire Engines,
Minutemen,
Metal Thangz,
The Flesh Eaters,
Half Japanese,
the Association,
Maurizio,
The Last Poets,
Neu!,
Magma,
Sonny Sharrock,
The Fugs,
Depeche Mode, Depeche Mode, Depeche Mode, Depeche Mode.
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.