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 Japan and from Delhi.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1977.
I'm losing my edge.
To all the kids in Philadelphia and Tehran.
I'm losing my edge to the art-school Tokyo 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 linndrum 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 Detroit Cobras to the grime kids.
I played it at the Hacienda.
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 the Sonics. All the underground hits.
All Graham Central Station tracks. I heard you have a vinyl of every Sun City Girls record on German import.
I heard that you have a white label of every seminal rap 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 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lonnie Liston Smith,
Judy Mowatt,
Urselle,
Shuggie Otis,
Darondo,
Fort Wilson Riot,
Radiopuhelimet,
John Holt,
DeepChord presents Echospace,
Porter Ricks,
Easy Going,
Gang Starr,
Drexciya,
The Doobie Brothers,
Grauzone,
The Invisible,
Pantaleimon,
Scratch Acid,
Banda Bassotti,
The Sound,
Ludus,
The Barracudas,
a-ha,
DJ Style,
Monks,
Kauko Röyhkä ja Narttu,
Gil Scott Heron,
Pharoah Sanders,
Rhythm & Sound,
The Dead C,
Ash Ra Tempel,
Brick,
cv313,
Jandek,
Bill Wells,
Steve Hackett,
Fluxion,
Trumans Water,
Leonard Cohen,
Jesper Dahlbäck,
Harpers Bizarre,
Johnny Osbourne,
Deadbeat,
MDC,
Joensuu 1685,
Scott Walker,
Soul Sonic Force,
Donny Hathaway,
Massinfluence,
Intrusion,
Kayak,
Surgeon,
Gang Gang Dance,
Subhumans,
Pierre Henry,
Crooked Eye,
E-Dancer,
The Cowsills,
The Neon Judgement,
The Young Rascals,
The Electric Prunes,
The Seeds,
Tres Demented,
Model 500, Model 500, Model 500, Model 500.
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.