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 France and from Milan.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Mumbai and Winnipeg.
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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the 808 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 Avey Tare & Kría Brekkan to the grunge kids.
I played it at Cafe Wha.
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 China Crisis. All the underground hits.
All Magazine tracks. I heard you have a vinyl of every Scratch Acid 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 a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a PIL 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?
DJ Sneak,
Half Japanese,
The Blackbyrds,
Tears for Fears,
Smog,
Television,
MC5,
KRS-One,
Terry Callier,
Sun City Girls,
The Cramps,
Cabaret Voltaire,
Wally Richardson,
Pantaleimon,
Minor Threat,
Kool Moe Dee,
The Monochrome Set,
Cymande,
The Golliwogs,
Shuggie Otis,
Jesper Dahlbäck,
Fifty Foot Hose,
Lou Christie,
Urselle,
Lee Hazlewood,
Drive Like Jehu,
Ultimate Spinach,
Rites of Spring,
Swell Maps,
Pharoah Sanders,
10cc,
The Evens,
Interpol,
Sly & The Family Stone,
Reuben Wilson,
Underground Resistance,
The Vogues,
Wolf Eyes,
The Names,
Toni Rubio,
X-Ray Spex,
Mary Jane Girls,
London Community Gospel Choir,
Lou Reed & John Cale,
Maurizio,
Pet Shop Boys,
Bush Tetras,
Sister Nancy,
Brass Construction,
Marc Romboy vs. Booka Shade,
Brothers Johnson,
Lakeside,
Deepchord,
Slick Rick,
Second Layer,
New Order,
Oneida,
Beasts of Bourbon,
Isaac Hayes,
The Gladiators, The Gladiators, The Gladiators, The Gladiators.
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.