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 El Salvador and from Sao Paulo.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Tehran and Paris.
I'm losing my edge to the art-school Houston 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the organ 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 The Dirtbombs to the disco kids.
I played it at Trash.
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 Buckinghams. All the underground hits.
All Mark Hollis tracks. I heard you have a vinyl of every New York Dolls 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 an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Monks,
B.T. Express,
Whodini,
La Düsseldorf,
The Durutti Column,
The Star Department,
the Normal,
Hashim,
Godley & Creme,
The Invisible,
Audionom,
Electric Prunes,
Hardrive,
Lucky Dragons,
Ossler,
Scion,
The Techniques,
The Monochrome Set,
World's Most,
Ajijia Myrayebe,
U.S. Maple,
Larry & the Blue Notes,
Judy Mowatt,
The Count Five,
Bobby Womack,
Glenn Branca,
Monolake,
Lower 48,
Basic Channel,
Rowland S Howard / Lydia Lunch,
Massinfluence,
kango's stein massive,
Urselle,
Livin' Joy,
Unwound,
The Cramps,
The Cowsills,
Sparks,
Sad Lovers and Giants,
Darondo,
Don Cherry,
Crispian St. Peters,
Cybotron,
Alice Coltrane,
Sonic Youth,
Infiniti,
Wings,
The Residents,
Funky Four + One,
ABC,
Kaleidoscope,
LL Cool J,
Selector Dub Narcotic,
Joy Division,
Terror Squad Feat. Camron,
The Remains,
Severed Heads,
Tres Demented,
Porter Ricks,
The Index,
The Slackers,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.