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 Belize and from Manila.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Stockholm and Madrid.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the rhodes 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 Barracudas 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 LL Cool J. All the underground hits.
All David Bowie tracks. I heard you have a vinyl of every Arab on Radar record on German import.
I heard that you have a white label of every seminal funk 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 a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Motorama record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Von Mondo,
The Seeds,
Jawbox,
The Buckinghams,
Urselle,
U.S. Maple,
Aural Exciters,
Nils Olav,
Cameo,
John Lydon,
Gregory Isaacs,
Soft Machine,
Mark Hollis,
H. Thieme,
Joensuu 1685,
Television Personalities,
The Red Krayola,
Schoolly D,
Frankie Knuckles,
Steve Hackett,
Electric Light Orchestra,
Albert Ayler,
Bobbi Humphrey,
Motorama,
Underground Resistance,
E-Dancer,
Soul Sonic Force,
Goldenarms,
Lou Reed & John Cale,
Hashim,
Mary Jane Girls,
Lightning Bolt,
Aloha Tigers,
Bobby Womack,
Liaisons Dangereuses,
Hot Snakes,
Joey Negro,
Spoonie Gee,
The Grass Roots,
Gil Scott Heron,
Matthew Halsall,
Anthony Braxton,
Dual Sessions,
Rekid,
The Stooges,
Yaz,
Althea and Donna,
Dark Day,
Interpol,
Maleditus Sound,
Monolake,
Roxy Music,
The Evens,
Rahsaan Roland Kirk,
The Fuzztones,
Tim Buckley,
Bob Dylan,
Model 500,
Stetsasonic,
The Gories,
The Victims,
The Young Rascals,
The Neon Judgement, The Neon Judgement, The Neon Judgement, The Neon Judgement.
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.