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 Mexico and from Seoul.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Paris and Cairo.
I'm losing my edge to the art-school Lyon 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 synthesizer sounds with much patience.
I was there when Robert Palmer 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 Gichy Dan to the grime 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 Severed Heads. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every Freddie Wadling record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Clear Light record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jimmy McGriff,
a-ha,
The Angels of Light,
Interpol,
The Young Rascals,
Mandrill,
Albert Ayler,
Arthur Verocai,
The Doors,
Audionom,
Ultra Naté,
Sandy B,
48th St. Collective,
U.S. Maple,
Neil Young,
The Martian,
Slave,
Blossom Toes,
Don Cherry,
Grauzone,
Mantronix,
Josef K,
Pole,
Major Organ And The Adding Machine,
Section 25,
Hoover,
The Pop Group,
Spoonie Gee,
China Crisis,
The Wake,
Suicide,
Joe Smooth,
Camron Feat. Jay Z And Juelz,
The Black Dice,
Clear Light,
Eric B and Rakim,
The United States of America,
Amazonics,
Suburban Knight,
Rufus Thomas,
Marc Romboy vs. Booka Shade,
Black Pus,
X-Ray Spex,
The Sonics,
CMW,
June Days,
Bush Tetras,
The Sisters of Mercy,
Jeff Mills,
Warren Ellis,
The Buckinghams,
Infiniti,
Joe Finger,
Hardrive,
The Gun Club,
KRS-One,
Henry Cow,
The Blackbyrds,
The Vogues,
Fela Kuti,
Kenny Larkin,
The Motions,
Lou Reed & Metallica, Lou Reed & Metallica, Lou Reed & Metallica, Lou Reed & Metallica.
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.