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 Micronesia and from Philadelphia.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Lille and Tokyo.
I'm losing my edge to the art-school Winnipeg 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 1968 at the first Can practice in a loft in Cologne.
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 Kerrie Biddell to the rock kids.
I played it at the Hacienda.
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 The Slits. All the underground hits.
All Underground Resistance tracks. I heard you have a vinyl of every Kenny Larkin record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Drexciya record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Albert Ayler,
L. Decosne,
X-Ray Spex,
John Holt,
The Five Americans,
Boredoms,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Beau Brummels,
Lungfish,
Ornette Coleman,
the Soft Cell,
Skriet,
Mary Jane Girls,
Neil Young & Crazy Horse,
The Saints,
The Leaves,
Radiohead,
The Flesh Eaters,
Rufus Thomas,
The Fall,
Minutemen,
Von Mondo,
Heaven 17,
Chrome,
Jandek,
Laurel Aitken,
Cecil Taylor,
Kings Of Tomorrow,
Black Bananas,
Black Sheep,
Joe Smooth,
Juan Atkins,
E-Dancer,
Spoonie Gee,
Brick,
48th St. Collective,
Scrapy,
The Pretty Things,
Dark Day,
Sad Lovers and Giants,
Ash Ra Tempel,
The Grass Roots,
the Slits,
Michelle Simonal,
Strawberry Alarm Clock,
DNA,
Tubeway Army,
CMW,
Sex Pistols,
Young Marble Giants,
Tears for Fears,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Arthur Verocai,
ABC,
Sun City Girls,
Lou Reed & John Cale,
Lucky Dragons,
Angry Samoans,
Joensuu 1685,
Soul Sonic Force,
Glenn Branca,
Jeff Mills, Jeff Mills, Jeff Mills, Jeff Mills.
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.