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 Russia and from Glasgow.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1978.
I'm losing my edge.
To all the kids in Calgary and Calgary.
I'm losing my edge to the art-school Columbus 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the synthesizer 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 Dead Boys to the grunge kids.
I played it at the Astoria.
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 World's Most. All the underground hits.
All Blancmange tracks. I heard you have a vinyl of every Girls At Our Best! record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Bizarre Inc. record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monolake,
The Cosmic Jokers,
Grey Daturas,
The Golliwogs,
Marmalade,
Crooked Eye,
Ten City,
Hasil Adkins,
Ornette Coleman,
U.S. Maple,
Vaughan Mason & Crew,
The Index,
Gang of Four,
The Shadows of Knight,
Theoretical Girls,
The Happenings,
Bronski Beat,
Terrestrial Tones,
Boz Scaggs,
Slave,
Beasts of Bourbon,
Mandrill,
Bobby Hutcherson,
The Names,
Laurel Aitken,
Ultimate Spinach,
Public Image Ltd.,
A Certain Ratio,
Spandau Ballet,
Darondo,
The Grass Roots,
Soulsonic Force,
Sound Behaviour,
Pantaleimon,
Rahsaan Roland Kirk,
Peter Gordon & Love of Life Orchestra,
Davy DMX,
Todd Rundgren,
Andrew Hill,
Piero Umiliani,
The Searchers,
Kango’s Stein Massive,
Derrick May,
KRS-One,
Danielle Patucci,
Subhumans,
Rakim,
Brothers Johnson,
Harmonia,
Wally Richardson,
Fatback Band,
John Holt,
Bill Near,
Drive Like Jehu,
10cc,
Surgeon,
The Electric Prunes,
Index,
Scott Walker + Sunn O))),
Make Up,
Porter Ricks,
Inner City,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.