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 Paraguay and from Stockholm.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Tokyo and Manchester.
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 at the first Suicide practice in a loft in New York.
I was working on the guitar 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 Avey Tare's Slasher Flicks to the electroclash 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 Pole. All the underground hits.
All Livin' Joy tracks. I heard you have a vinyl of every Supertramp 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 '70s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Count Five record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Index,
Roger Hodgson,
Robert Görl,
Ronnie Foster,
Alton Ellis,
Kerrie Biddell,
The Durutti Column,
PIL,
Richard Hell and the Voidoids,
The Standells,
Underground Resistance,
Kool G Rap & DJ Polo,
Sound Behaviour,
The American Breed,
Boz Scaggs,
Stereo Dub,
Au Pairs,
World's Most,
Fat Boys,
Steve Hackett,
Ice-T,
Glambeats Corp.,
Crooked Eye,
Matthew Halsall,
Audionom,
In Retrospect,
Kayak,
Louis and Bebe Barron,
Scion,
Faust,
The Mighty Diamonds,
The Sonics,
The Victims,
Whodini,
Fela Kuti,
John Coltrane,
Ultravox,
Orchestral Manoeuvres in the Dark,
Mr. Review,
Big Daddy Kane,
Lee Hazlewood,
John Lydon,
Zapp,
Aswad,
Model 500,
Rites of Spring,
The Wake,
Lyres,
The Trojans,
EPMD,
Davy DMX,
Andrew Hill,
Tubeway Army,
Barclay James Harvest,
Black Sheep,
Nils Olav,
The Flesh Eaters,
Interpol,
Chris & Cosey,
Warren Ellis,
Infiniti,
Scott Walker,
Ken Boothe,
Maleditus Sound, Maleditus Sound, Maleditus Sound, Maleditus Sound.
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.