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 Cuba and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Woodstock and Mexico City.
I'm losing my edge to the art-school Calgary 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the snare 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 Harpers Bizarre to the techno kids.
I played it at Trash.
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 Quantec. All the underground hits.
All Lou Christie tracks. I heard you have a vinyl of every Selector Dub Narcotic record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Soul II Soul record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Royal Trux,
Ken Boothe,
Jerry Gold Smith,
Maurizio,
Mandrill,
The Mojo Men,
The Birthday Party,
Tropical Tobacco,
Country Teasers,
Porter Ricks,
Ornette Coleman,
The Music Machine,
Mary Jane Girls,
Dark Day,
Gang Green,
Tommy Roe,
Gregory Isaacs,
Simply Red,
Amazonics,
Jesper Dahlbäck,
DNA,
Magazine,
Jandek,
Gil Scott Heron,
Nation of Ulysses,
48th St. Collective,
Barclay James Harvest,
Sparks,
Maleditus Sound,
Matthew Bourne,
Sight & Sound,
Robert Görl,
Gil Scott-Heron & Brian Jackson,
Angels of Light & Akron/Family,
U.S. Maple,
Interpol,
Throbbing Gristle,
Kango’s Stein Massive,
Sun Ra,
The Fugs,
Traffic Nightmare,
Kool Moe Dee,
The Beau Brummels,
Arthur Verocai,
The Busters,
Peter Gordon & Love of Life Orchestra,
The Seeds,
Amon Düül II,
The Detroit Cobras,
Ralphi Rosario,
Au Pairs,
Joensuu 1685,
De La Soul & Jungle Brothers,
Circle Jerks,
The Shadows of Knight,
Flash Fearless,
Jeff Lynne,
Wolf Eyes,
Theoretical Girls, Theoretical Girls, Theoretical Girls, Theoretical Girls.
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.