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 Lebanon and from Lille.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Bremen and Milan.
I'm losing my edge to the art-school Delhi 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the rhodes 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 Von Mondo to the electroclash kids.
I played it at CBGB's.
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 Sight & Sound. All the underground hits.
All The Smoke tracks. I heard you have a vinyl of every Lakeside record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Buzzcocks record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
Fluxion,
Agent Orange,
Siouxsie and the Banshees,
Strawberry Alarm Clock,
Eric B and Rakim,
Gong,
The Happenings,
Ultravox,
Fifty Foot Hose,
Selector Dub Narcotic,
London Community Gospel Choir,
Justin Hinds & The Dominoes,
the Soft Cell,
Leonard Cohen,
Avey Tare's Slasher Flicks,
The Selecter,
Morten Harket,
Pere Ubu,
Archie Shepp,
Saccharine Trust,
Moby Grape,
Frankie Knuckles,
Rod Modell,
Jesper Dahlbäck,
Cal Tjader,
Sad Lovers and Giants,
Ituana,
Donny Hathaway,
The American Breed,
Pantaleimon,
R.M.O.,
New Order,
Blancmange,
LL Cool J,
Animal Collective,
Major Organ And The Adding Machine,
Franke,
The Skatalites,
Fear,
Hardrive,
The Durutti Column,
X-102,
Sam Rivers,
The Walker Brothers,
James White and The Blacks,
Quantec,
Liliput,
The Mojo Men,
Drexciya,
Dawn Penn,
Stiv Bators,
Lungfish,
Rhythim Is Rhythim,
The Remains,
Marcia Griffiths,
Sexual Harrassment,
Cabaret Voltaire,
F. McDonald,
Johnny Clarke,
The Raincoats,
Au Pairs,
Q and Not U, Q and Not U, Q and Not U, Q and Not U.
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.