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 Costa Rica and from Manila.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1973.
I'm losing my edge.
To all the kids in Portland and Glasgow.
I'm losing my edge to the art-school Johannesburg 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 guitar sounds with much patience.
I was there when Holger Czukay 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 Moody Blues to the electroclash 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 Monochrome Set. All the underground hits.
All Anakelly tracks. I heard you have a vinyl of every Clear Light 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 '70s cut and another box set from the '80s.
I hear you're buying an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Sonic Youth record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brick,
Pharaoh Sanders and the Fire Engines,
Nas,
The Flesh Eaters,
Vaughan Mason & Crew,
Kool G Rap & DJ Polo,
Bang on a Can All-Stars,
Eve St. Jones,
The Associates,
Bronski Beat,
Yaz,
Bootsy Collins,
Bobby Sherman,
DJ Style,
EPMD,
Janne Schatter,
Ituana,
Suicide,
Roxette,
UT,
Talk Talk,
Marine Girls,
Bizarre Inc.,
Yazoo,
Echo & the Bunnymen,
Soft Machine,
The Standells,
Minor Threat,
Minnie Riperton,
Cal Tjader,
Faraquet,
The J.B.'s,
a-ha,
Eric Dolphy,
Gil Scott-Heron & Brian Jackson,
Soul II Soul,
T.S.O.L.,
The Dave Clark Five,
MDC,
Radiohead,
The Angels of Light,
Skarface,
The Residents,
The Skatalites,
Cluster,
Sexual Harrassment,
Au Pairs,
Rites of Spring,
Intrusion,
Wire,
The Neon Judgement,
Rakim,
The Vogues,
Kerri Chandler,
Kauko Röyhkä ja Narttu,
Magazine,
Maleditus Sound,
The Golliwogs,
Junior Murvin,
Gang of Four,
Sun Ra, Sun Ra, Sun Ra, Sun Ra.
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.