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 Egypt and from Lyon.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Paris and Hong Kong.
I'm losing my edge to the art-school Houston 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 spring reverb 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 Deadbeat to the grunge 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 Dennis Brown. All the underground hits.
All The Dave Clark Five tracks. I heard you have a vinyl of every Malaria! record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Monolake record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brothers Johnson,
The Fall,
Jeru the Damaja,
Quando Quango,
Surgeon,
KRS-One,
Nils Olav,
The Techniques,
Danielle Patucci,
The Smoke,
The Blues Magoos,
Terrestrial Tones,
Cecil Taylor,
Aural Exciters,
Fifty Foot Hose,
Eve St. Jones,
Gian Franco Pienzio,
Johnny Osbourne,
Rekid,
Pierre Henry,
Deutsch Amerikanische Freundschaft,
Popol Vuh,
Negative Approach,
Rapeman,
10cc,
JFA,
The Count Five,
The Tremeloes,
Pharoah Sanders,
Albert Ayler,
The Gladiators,
Wolf Eyes,
Siouxsie and the Banshees,
8 Eyed Spy,
Echospace,
Orchestral Manoeuvres in the Dark,
Amon Düül,
Harmonia,
This Heat,
Lee Hazlewood,
The Mummies,
Rosa Yemen,
Outsiders,
H. Thieme,
Average White Band,
Masters at Work,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Rhythm & Sound,
The Velvet Underground,
Rod Modell,
Scientists,
Bad Manners,
De La Soul & Jungle Brothers,
E-Dancer,
Marcia Griffiths,
The Star Department,
Jawbox,
Dead Boys,
Heavy D & The Boyz,
The Pretty Things,
kango's stein massive,
Supertramp, Supertramp, Supertramp, Supertramp.
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.