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 Latvia and from Mumbai.
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 1975.
I'm losing my edge.
To all the kids in Edmonton and Winnipeg.
I'm losing my edge to the art-school Glasgow 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 1973 at the first Television practice in a loft in New York.
I was working on the linndrum sounds with much patience.
I was there when Michael McDonald 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 Camberwell Now to the crunk kids.
I played it at Trash.
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 Drive Like Jehu. All the underground hits.
All The Real Kids tracks. I heard you have a vinyl of every The Monochrome Set record on German import.
I heard that you have a white label of every seminal dance 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 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 The American Breed record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scratch Acid,
Pierre Henry,
CMW,
The Wake,
John Lydon,
Stereo Dub,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
ABC,
Darondo,
Moebius,
Gong,
The Leaves,
Echo & the Bunnymen,
The Durutti Column,
The Young Rascals,
Ajijia Myrayebe,
Masters at Work,
T.S.O.L.,
cv313,
Reagan Youth,
Grandmaster Flash,
The Slits,
Infiniti,
Lebanon Hanover,
Bluetip,
Bang On A Can,
Todd Rundgren,
Roy Ayers,
Eric Dolphy,
Dark Day,
Simply Red,
Cymande,
Goldenarms,
Electric Prunes,
The Raincoats,
Radio Birdman,
Essential Logic,
One Last Wish,
Joe Finger,
The Velvet Underground,
Brothers Johnson,
Derrick Morgan,
the Swans,
Scientists,
John Cale,
Outsiders,
Lungfish,
Robert Wyatt,
Motorama,
Robert Hood,
The Music Machine,
Bush Tetras,
Young Marble Giants,
The Cramps,
Country Teasers,
The Kinks,
Magazine,
Moby Grape,
Justin Hinds & The Dominoes,
Nick Cave & The Bad Seeds,
Dual Sessions,
Grandmaster Flash and the Furious Five,
Nils Olav,
Pharoah Sanders, Pharoah Sanders, Pharoah Sanders, Pharoah Sanders.
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.