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 Djibouti and from Copenhagen.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Beijing and Edmonton.
I'm losing my edge to the art-school Seoul 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 Second Layer practice in a loft in South London.
I was working on the mellotron 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 Henry Cow to the grunge kids.
I played it at the Hacienda.
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 X-101. All the underground hits.
All Godley & Creme tracks. I heard you have a vinyl of every Bootsy Collins record on German import.
I heard that you have a white label of every seminal punk 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 synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Stockholm Monsters record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harpers Bizarre,
Crooked Eye,
Teenage Jesus and the Jerks,
The Buckinghams,
Rosa Yemen,
Hardrive,
Cybotron,
Hashim,
China Crisis,
Yellowson,
Agitation Free,
Soulsonic Force,
Andrew Hill,
Talk Talk,
Sex Pistols,
Marshall Jefferson,
Moss Icon,
Half Japanese,
Arthur Verocai,
Scan 7,
Magazine,
OOIOO,
Soft Cell,
Sly & The Family Stone,
Au Pairs,
Subhumans,
Byron Stingily,
K-Klass,
Avey Tare & Kría Brekkan,
Throbbing Gristle,
June of 44,
Japan,
The Fall,
The Slits,
Sad Lovers and Giants,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Robert Wyatt,
James Chance & The Contortions,
Joyce Sims,
Drexciya,
Tears for Fears,
Babytalk,
Vaughan Mason & Crew,
It's A Beautiful Day,
L. Decosne,
Das Ding,
The Sound,
Gang Green,
Ponytail,
Unrelated Segments,
The Sonics,
One Last Wish,
Janne Schatter,
Siouxsie and the Banshees,
Cameo,
The Doors,
Fifty Foot Hose,
Animal Collective,
James White and The Blacks,
Dual Sessions,
Matthew Bourne,
The Pop Group,
Connie Case, Connie Case, Connie Case, Connie Case.
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.