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 Sierra Leone and from Salvador.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Philadelphia and Taipei.
I'm losing my edge to the art-school Jakarta 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 1984 at the first Arcadia practice in a loft in London.
I was working on the oboe 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 Khruangbin to the electroclash kids.
I played it at the Astoria.
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 Lou Reed & Metallica. All the underground hits.
All Godley & Creme tracks. I heard you have a vinyl of every Rod Modell record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Pylon record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jerry's Kids,
the Germs,
Aaron Thompson,
Be Bop Deluxe,
Lou Reed & John Cale,
June Days,
Sly & The Family Stone,
Altered Images,
E-Dancer,
Jerry Gold Smith,
Deutsch Amerikanische Freundschaft,
Sparks,
Morten Harket,
Delon & Dalcan,
De La Soul & Jungle Brothers,
Kauko Röyhkä ja Narttu,
Soft Machine,
The Monks,
Oppenheimer Analysis,
Model 500,
Sam Rivers,
The United States of America,
Leonard Cohen,
The Slackers,
Bob Dylan,
Terry Callier,
Siouxsie and the Banshees,
Bill Near,
Neu!,
The Golliwogs,
Buzzcocks,
Colin Newman,
Dave Gahan,
The Gun Club,
Tim Buckley,
Easy Going,
Flipper,
The Knickerbockers,
Pharaoh Sanders and the Fire Engines,
The Sound,
The Standells,
Reagan Youth,
Maurizio,
AZ,
Barry Ungar,
Surgeon,
Cecil Taylor,
Justin Hinds & The Dominoes,
Röyhkä ja Rättö ja Lehtisalo,
Cal Tjader,
Scott Walker + Sunn O))),
Black Sheep,
Heavy D & The Boyz,
X-Ray Spex,
John Holt,
The Electric Prunes,
Technova,
Todd Terry, Todd Terry, Todd Terry, Todd Terry.
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.