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 Swaziland and from Stockholm.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1972.
I'm losing my edge.
To all the kids in Halifax and Edmonton.
I'm losing my edge to the art-school Toronto 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 1978 at the first Visage practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Little Man to the disco 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 The Count Five. All the underground hits.
All The American Breed tracks. I heard you have a vinyl of every the Association 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 '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Panda Bear record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Röyhkä ja Rättö ja Lehtisalo,
Janne Schatter,
Public Enemy,
Johnny Osbourne,
Parry Music,
The Moleskins,
Nik Kershaw,
Moby Grape,
The Move,
James White and The Blacks,
Outsiders,
Adolescents,
X-102,
Gabor Szabo,
Thee Headcoats,
Subhumans,
Minny Pops,
Scion,
E-Dancer,
Delta 5,
Electric Light Orchestra,
D'Angelo,
Rites of Spring,
Crispy Ambulance,
Sly & The Family Stone,
Das Ding,
Cluster,
Siouxsie and the Banshees,
Pantaleimon,
Lyres,
The Kinks,
the Slits,
Be Bop Deluxe,
De La Soul & Jungle Brothers,
Jeru the Damaja,
Henry Cow,
Dorothy Ashby,
Radiopuhelimet,
Sam Rivers,
Pagans,
Flipper,
Bang on a Can All-Stars,
New York Dolls,
Notorious Big And Bone Thugs,
In Retrospect,
Red Lorry Yellow Lorry,
Bad Manners,
Lou Christie,
Peter & Gordon,
The Names,
Little Man,
MDC,
Ten City,
Sällskapet,
Grauzone,
EPMD,
The Shadows of Knight,
Spandau Ballet,
Sight & Sound,
Juan Atkins,
Oppenheimer Analysis,
Mars,
Aswad,
Pere Ubu, Pere Ubu, Pere Ubu, Pere Ubu.
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.