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 Finland and from Sao Paulo.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Johannesburg.
I'm losing my edge to the art-school Edmonton 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the synthesizer 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 Gastr Del Sol to the rock 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 Junior Murvin. All the underground hits.
All The Index tracks. I heard you have a vinyl of every Qualms record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Youth Brigade record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gian Franco Pienzio,
Minnie Riperton,
The Cosmic Jokers,
Pantytec,
Vaughan Mason & Crew,
Metal Thangz,
The Gun Club,
The Blues Magoos,
This Heat,
Terry Callier,
Dave Gahan,
David Axelrod,
Fifty Foot Hose,
Zero Boys,
The Fire Engines,
Mandrill,
Qualms,
Ultravox,
Quantec,
Gil Scott-Heron and Jamie xx,
Dark Day,
ABC,
Sun Ra Arkestra,
Cal Tjader,
Pere Ubu,
The Mummies,
Organ,
The Pretty Things,
Intrusion,
Rod Modell,
Chris & Cosey,
Pharaoh Sanders and the Fire Engines,
Fad Gadget,
Can,
Siglo XX,
Bill Wells,
Reuben Wilson,
Letta Mbulu,
Spoonie Gee,
Ajijia Myrayebe,
The Raincoats,
Outsiders,
The Saints,
Hardrive,
The Litter,
Con Funk Shun,
June of 44,
Nation of Ulysses,
Judy Mowatt,
Gil Scott-Heron & Brian Jackson,
Jacques Brel,
Gang Green,
the Slits,
Kerrie Biddell,
The Searchers,
Bang on a Can All-Stars,
Thinking Fellers Union Local 282,
48th St. Collective,
Au Pairs,
The Cramps, The Cramps, The Cramps, The Cramps.
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.