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 Turkey and from Stockholm.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Calgary and Bremen.
I'm losing my edge to the art-school Manchester 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 at the first Suicide practice in a loft in New York.
I was working on the linndrum 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 John Holt to the disco kids.
I played it at the Spitz.
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 Grey Daturas. All the underground hits.
All Kevin Saunderson tracks. I heard you have a vinyl of every Thompson Twins record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar 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 Evens record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Royal Trux,
Angry Samoans,
The Barracudas,
The Men They Couldn't Hang,
The Five Americans,
Ohio Players,
The Dead C,
Alphaville,
The Misunderstood,
Moss Icon,
Johnny Clarke,
Bauhaus,
Big Daddy Kane,
Y Pants,
Electric Light Orchestra,
Sällskapet,
Spandau Ballet,
Frankie Knuckles,
Rhythm & Sound,
Lebanon Hanover,
Amazonics,
Eddi Front,
Fort Wilson Riot,
Scratch Acid,
Thompson Twins,
U.S. Maple,
the Soft Cell,
The Motions,
Zapp,
The Fall,
Sight & Sound,
Deepchord,
Buzzcocks,
Monks,
Marine Girls,
Rakim,
Scion,
Lightning Bolt,
Yusef Lateef,
Gian Franco Pienzio,
The Birthday Party,
Black Bananas,
The Residents,
Terry Callier,
Jeru the Damaja,
Q65,
The Sound,
Albert Ayler,
Aswad,
Lucky Dragons,
The Kinks,
Erykah Badu,
Joe Smooth,
Glenn Branca,
Pantaleimon,
The Techniques,
Todd Rundgren,
Howard Jones,
Patti Smith, Patti Smith, Patti Smith, Patti Smith.
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.