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 China and from Salvador.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1970.
I'm losing my edge.
To all the kids in Portland and New York.
I'm losing my edge to the art-school Lille 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 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 The West Coast Pop Art Experimental Band to the crunk 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 Dark Day. All the underground hits.
All Blake Baxter tracks. I heard you have a vinyl of every Minnie Riperton 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 '80s cut and another box set from the '70s.
I hear you're buying a guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Delta 5 record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wings,
Liaisons Dangereuses,
Pantytec,
The Pop Group,
Curtis Mayfield,
Vainqueur,
Matthew Halsall,
Godley & Creme,
Hoover,
Ralphi Rosario,
Flipper,
Marvin Gaye,
OOIOO,
Freddie Wadling,
Adolescents,
Unwound,
Camron Feat. Memphis Bleek And Beenie Seigel,
Von Mondo,
The Moleskins,
The Mojo Men,
ABC,
The Wake,
The Seeds,
Ponytail,
The Raincoats,
Outsiders,
Notorious Big And Bone Thugs,
The Happenings,
Heaven 17,
Lakeside,
Wolf Eyes,
Fluxion,
Oneida,
Sight & Sound,
Severed Heads,
Sunsets and Hearts,
Mandrill,
Nils Olav,
Leonard Cohen,
F. McDonald,
Eric Copeland,
David Bowie,
DNA,
Gil Scott Heron,
the Slits,
Grauzone,
Funky Four + One,
Sad Lovers and Giants,
LL Cool J,
The Residents,
Shoche,
Masters at Work,
Toni Rubio,
Avey Tare's Slasher Flicks,
The Standells,
Sarah Menescal,
R.M.O.,
Ludus,
Icehouse,
Moebius,
The Vogues, The Vogues, The Vogues, The Vogues.
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.