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 Zimbabwe and from Manchester.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Edmonton and New York.
I'm losing my edge to the art-school Jakarta 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 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 Pere Ubu to the crunk 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 Sarah Menescal. All the underground hits.
All Malaria! tracks. I heard you have a vinyl of every Soft Cell record on German import.
I heard that you have a white label of every seminal rock 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 a rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Japan,
Television,
Leonard Cohen,
Camberwell Now,
Lafayette Afro Rock Band,
The Alarm Clocks,
Shuggie Otis,
Vladislav Delay,
Donny Hathaway,
John Coltrane,
Scratch Acid,
Bob Dylan,
Lungfish,
Black Bananas,
It's A Beautiful Day,
The Neon Judgement,
The Mighty Diamonds,
Country Joe & The Fish,
Lebanon Hanover,
Eurythmics,
the Swans,
Michelle Simonal,
Judy Mowatt,
The Fortunes,
Matthew Bourne,
Tomorrow,
Panda Bear,
Sad Lovers and Giants,
The Fuzztones,
Inner City,
Steve Hackett,
PIL,
Angry Samoans,
Joyce Sims,
Piero Umiliani,
Sun Ra,
Maleditus Sound,
New Age Steppers,
The Cramps,
The Moleskins,
Freddie Wadling,
Yusef Lateef,
June of 44,
Pharoah Sanders,
Radiopuhelimet,
Yellowson,
Aloha Tigers,
MC5,
Oneida,
Crispian St. Peters,
The Pop Group,
Y Pants,
Pussy Galore,
Slave,
The Blackbyrds,
The Music Machine,
Byron Stingily,
Janne Schatter,
Eric Copeland,
Jesper Dahlback,
The Star Department, The Star Department, The Star Department, The Star Department.
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.