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 Indonesia and from Tehran.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1979.
I'm losing my edge.
To all the kids in Toronto and Delhi.
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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the linndrum 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 Kings Of Tomorrow to the grime 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 June Days. All the underground hits.
All Unwound tracks. I heard you have a vinyl of every Ossler 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 '90s.
I hear you're buying a 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
Mo-Dettes,
Anthony Braxton,
Steve Hackett,
Groovy Waters,
Ohio Players,
Banda Bassotti,
Lee Hazlewood,
Al Stewart,
Gabor Szabo,
Jacques Brel,
The Index,
Harpers Bizarre,
Scrapy,
Das Ding,
Metal Thangz,
Dual Sessions,
Model 500,
OOIOO,
The Smoke,
Lower 48,
Soulsonic Force,
Joe Finger,
Warren Ellis,
Robert Görl,
Sad Lovers and Giants,
Rites of Spring,
Pagans,
Tom Boy,
Lou Christie,
John Holt,
Young Marble Giants,
The Smiths,
Sparks,
UT,
The Buckinghams,
Kaleidoscope,
The Busters,
Blancmange,
Funkadelic,
Television,
LL Cool J,
Letta Mbulu,
Michelle Simonal,
David Bowie,
Los Fastidios,
Minutemen,
Goldenarms,
The Offenders,
Cheater Slicks,
Sandy B,
Lafayette Afro Rock Band,
The Pretty Things,
Index,
Soul II Soul,
Bob Dylan,
Spandau Ballet,
Massinfluence,
Infiniti,
Supertramp,
Organ,
The Detroit Cobras, The Detroit Cobras, The Detroit Cobras, The Detroit Cobras.
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.