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 Cuba and from Shanghai.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Tehran and Seoul.
I'm losing my edge to the art-school London 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 spring reverb 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 Victims to the disco 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 Danielle Patucci. All the underground hits.
All Sunsets and Hearts tracks. I heard you have a vinyl of every Brothers Johnson 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 '70s cut and another box set from the '90s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Martian record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Bill Near,
Half Japanese,
Lightning Bolt,
Ken Boothe,
Radio Birdman,
Loose Ends,
Ultramagnetic MC's,
Scott Walker,
the Soft Cell,
Scion,
Sam Rivers,
Agitation Free,
Amon Düül II,
Joey Negro,
The Moody Blues,
New Age Steppers,
The West Coast Pop Art Experimental Band,
Lower 48,
The Techniques,
Sex Pistols,
The Fortunes,
The Dead C,
Black Flag,
Neu!,
Bootsy Collins,
Motorama,
Blancmange,
Ronan,
Fat Boys,
Siglo XX,
Mars,
Morten Harket,
Skaos,
Camron Feat. Jay Z And Juelz,
The Litter,
Sonny Sharrock,
Quadrant,
The Misunderstood,
MDC,
La Düsseldorf,
AZ,
Reuben Wilson,
The Cosmic Jokers,
Gil Scott Heron,
Bootsy's Rubber Band,
Echospace,
Lungfish,
The Monochrome Set,
Theoretical Girls,
Hoover,
Wasted Youth,
Donald Byrd,
Au Pairs,
Lalann,
Electric Light Orchestra,
Lou Reed & John Cale,
The New Christs,
Connie Case,
EPMD,
The Smoke, The Smoke, The Smoke, The Smoke.
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.