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 Spain and from Johannesburg.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1970.
I'm losing my edge.
To all the kids in Lyon and Lagos.
I'm losing my edge to the art-school Madrid 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 1984 at the first Arcadia practice in a loft in London.
I was working on the theremin 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 Captain Beefheart & His Magic Band to the disco 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 Easy Going. All the underground hits.
All The Fugs tracks. I heard you have a vinyl of every Japan 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 '70s cut and another box set from the '80s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Mojo Men record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Buzzcocks,
Visionaries,LMNO, T- Love & Iriscience,
Quando Quango,
Eli Mardock,
Lafayette Afro Rock Band,
The Alarm Clocks,
Peter and Kerry,
The Fuzztones,
Super Lover Cee & Casanova Rud,
The Pretty Things,
Black Moon,
Bauhaus,
The Mojo Men,
Monks,
Reuben Wilson,
Dark Day,
Dead Boys,
Fat Boys,
Drexciya,
Teenage Jesus and the Jerks,
Sound Behaviour,
Blake Baxter,
Ken Boothe,
Sällskapet,
Masters at Work,
David McCallum,
Gang of Four,
Andrew Hill,
Girls At Our Best!,
The Offenders,
Index,
The Remains,
Brick,
Orchestral Manoeuvres in the Dark,
Henry Cow,
Shuggie Otis,
Sandy B,
Morten Harket,
Japan,
Anakelly,
The Trojans,
Lou Reed & Metallica,
Icehouse,
These Immortal Souls,
Al Stewart,
Bang on a Can All-Stars,
Sun Ra Arkestra,
Anthony Braxton,
U.S. Maple,
Harpers Bizarre,
The Black Dice,
Donny Hathaway,
Unwound,
The Durutti Column,
the Soft Cell,
Bush Tetras,
Blancmange,
Radiohead,
EPMD,
Reagan Youth,
Camouflage,
The Neon Judgement, The Neon Judgement, The Neon Judgement, The Neon Judgement.
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.