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 Costa Rica and from Toronto.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Delhi and Milan.
I'm losing my edge to the art-school Manchester 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 Deakin to the electroclash kids.
I played it at Cafe Wha.
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 Fugazi. All the underground hits.
All UT tracks. I heard you have a vinyl of every Byron Stingily record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sad Lovers and Giants,
Echospace,
Accadde A,
Glambeats Corp.,
Mark Hollis,
The Divine Comedy,
Morten Harket,
Howard Jones,
AZ,
Susan Cadogan,
UT,
The Martian,
The Jesus and Mary Chain,
Chris & Cosey,
Dawn Penn,
Matthew Halsall,
Liliput,
Orchestral Manoeuvres in the Dark,
Lightning Bolt,
Motorama,
Drexciya,
Bobby Byrd,
Funky Four + One,
Pantytec,
MC5,
Jesper Dahlback,
Minny Pops,
The Fall,
Lonnie Liston Smith,
Oneida,
the Sonics,
Massinfluence,
Cymande,
Chris Corsano,
Jeru the Damaja,
Max Romeo,
Ludus,
Newcleus,
Jimmy McGriff,
Oblivians,
Radio Birdman,
U.S. Maple,
Lou Reed & Metallica,
Liaisons Dangereuses,
Kauko Röyhkä ja Narttu,
Porter Ricks,
Ice-T,
Bobby Womack,
Ultravox,
Jesper Dahlbäck,
Bluetip,
John Lydon,
The Stooges,
Lower 48,
48th St. Collective,
Country Joe & The Fish,
Inner City,
Aural Exciters,
Pussy Galore,
Eddi Front,
Young Marble Giants,
Icehouse, Icehouse, Icehouse, Icehouse.
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.