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 Nigeria and from Shanghai.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Edmonton.
I'm losing my edge to the art-school Paris 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 Lou Reed 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 Monks to the techno kids.
I played it at the 40 Watt.
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 James Chance & The Contortions. All the underground hits.
All The Trojans tracks. I heard you have a vinyl of every Mark Hollis record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s 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 Dawn Penn record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Technova,
Severed Heads,
Fatback Band,
Suicide,
Jimmy McGriff,
Alice Coltrane,
Jawbox,
The Star Department,
The Fuzztones,
Aloha Tigers,
Brick,
Bauhaus,
The Blackbyrds,
The Beau Brummels,
Yazoo,
Neu!,
The Five Americans,
cv313,
Lizzy Mercier Descloux,
Angry Samoans,
Eric B and Rakim,
John Lydon,
Livin' Joy,
The Doobie Brothers,
Chrome,
Kaleidoscope,
Interpol,
Scrapy,
The Skatalites,
Q65,
Notorious Big And Bone Thugs,
Neil Young,
Jacques Brel,
Susan Cadogan,
Lee Hazlewood,
Funky Four + One,
Kenny Larkin,
Simply Red,
Danielle Patucci,
the Normal,
Gil Scott Heron,
Public Enemy,
The Techniques,
Angels of Light & Akron/Family,
Swell Maps,
Gang Gang Dance,
Nils Olav,
Ronnie Foster,
Don Cherry,
Tommy Roe,
Lou Christie,
Quantec,
Trumans Water,
Gabor Szabo,
Gregory Isaacs,
Stereo Dub,
The Associates,
Siouxsie and the Banshees,
Dorothy Ashby,
Jandek,
Lower 48,
Nick Fraelich, Nick Fraelich, Nick Fraelich, Nick Fraelich.
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.