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 Armenia and from New York.
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 1967 to 1978.
I'm losing my edge.
To all the kids in London and Shanghai.
I'm losing my edge to the art-school Madrid 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 theremin sounds with much patience.
I was there when Captain Beefheart 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 Nick Fraelich to the grunge 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 Charles Mingus. All the underground hits.
All Can tracks. I heard you have a vinyl of every Lou Reed 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 '90s.
I hear you're buying a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Swans,
Cluster,
Ornette Coleman,
The Dead C,
Justin Hinds & The Dominoes,
The Mummies,
Make Up,
The Toasters,
K-Klass,
Barclay James Harvest,
The Fall,
Sound Behaviour,
Rhythim Is Rhythim,
De La Soul & Jungle Brothers,
The Invisible,
The Misunderstood,
Junior Murvin,
Chris & Cosey,
Second Layer,
Joy Division,
Circle Jerks,
Whodini,
The Shadows of Knight,
Country Teasers,
E-Dancer,
EPMD,
John Foxx,
John Lydon,
Funkadelic,
The Pretty Things,
Bobby Womack,
Tears for Fears,
Thompson Twins,
Judy Mowatt,
Saccharine Trust,
Kings Of Tomorrow,
Deutsch Amerikanische Freundschaft,
Maurizio,
Fear,
Khruangbin,
Surgeon,
Boogie Down Productions,
Barrington Levy,
L. Decosne,
Byron Stingily,
John Cale,
Joe Smooth,
A Certain Ratio,
Archie Shepp,
Black Moon,
The Offenders,
Electric Light Orchestra,
Livin' Joy,
Teenage Jesus and the Jerks,
Crispian St. Peters,
Aural Exciters,
Quantec,
Lalann,
Orchestral Manoeuvres in the Dark,
Don Cherry,
June of 44, June of 44, June of 44, June of 44.
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.