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 Togo and from Sao Paulo.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Woodstock and Bremen.
I'm losing my edge to the art-school Beijing 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 chamberlin 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 Adolescents to the grunge kids.
I played it at CBGB's.
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 Make Up. All the underground hits.
All Groovy Waters tracks. I heard you have a vinyl of every Pantytec record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Excepter record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gary Puckett & The Union Gap,
Beasts of Bourbon,
Jerry's Kids,
The Tremeloes,
Blancmange,
Avey Tare & Kría Brekkan,
Swell Maps,
Marcia Griffiths,
Audionom,
Siouxsie and the Banshees,
Bush Tetras,
Amon Düül,
Malaria!,
The American Breed,
The Standells,
Echospace,
Animal Collective,
The Doobie Brothers,
Rhythm & Sound,
The Victims,
Mo-Dettes,
Yusef Lateef,
Magma,
Black Flag,
David McCallum,
Popol Vuh,
Drexciya,
D'Angelo,
Sight & Sound,
Ultravox,
Anakelly,
Pulsallama,
The Barracudas,
Brothers Johnson,
The Shadows of Knight,
Ponytail,
Cymande,
The Gun Club,
Pharoah Sanders,
Electric Prunes,
Sandy B,
Eli Mardock,
Kayak,
Deakin,
Tim Buckley,
Godley & Creme,
Yaz,
Kool G Rap & DJ Polo,
cv313,
Rowland S Howard / Lydia Lunch,
Pharaoh Sanders and the Fire Engines,
The Buckinghams,
The Black Dice,
Sparks,
Fela Kuti,
Dorothy Ashby,
Masters at Work,
Aural Exciters,
Young Marble Giants,
The Sisters of Mercy,
Ronnie Foster, Ronnie Foster, Ronnie Foster, Ronnie Foster.
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.