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 Norway and from Tokyo.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Stockholm and Bremen.
I'm losing my edge to the art-school London 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the theremin sounds with much patience.
I was there when Lou Reed 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 New Order to the electroclash kids.
I played it at the Crocodile.
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 Orchestral Manoeuvres in the Dark. All the underground hits.
All The Dave Clark Five tracks. I heard you have a vinyl of every Derrick May record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacques Brel,
Agent Orange,
Marshall Jefferson,
Pere Ubu,
Zero Boys,
Television,
the Normal,
Richard Hell and the Voidoids,
The Vogues,
Drexciya,
X-Ray Spex,
Lebanon Hanover,
48th St. Collective,
Vladislav Delay,
Scientists,
T. Rex,
Albert Ayler,
Talk Talk,
The Fall,
Pharoah Sanders,
Outsiders,
Scratch Acid,
Peter & Gordon,
Eurythmics,
Pussy Galore,
Cymande,
Andrew Hill,
Joey Negro,
Kerrie Biddell,
Gabor Szabo,
Vainqueur,
Ohio Players,
Joensuu 1685,
The Zeros,
Rhythm & Sound,
X-102,
EPMD,
Oneida,
Flash Fearless,
The Invisible,
Ash Ra Tempel,
Essential Logic,
Visionaries,LMNO, T- Love & Iriscience,
The Victims,
Charles Mingus,
T.S.O.L.,
The Birthday Party,
Alison Limerick,
Pulsallama,
Todd Rundgren,
Agitation Free,
Brass Construction,
Scan 7,
The Cure,
Manfred Mann's Earth Band,
Gil Scott-Heron and Jamie xx,
The Walker Brothers,
Soft Cell,
Lower 48,
Ponytail,
The Gun Club,
Black Moon,
Pete Rock & C.L. Smooth,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.