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 Fiji and from Copenhagen.
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 1973.
I'm losing my edge.
To all the kids in Seoul and Columbus.
I'm losing my edge to the art-school Stockholm 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 Feelies practice in a loft in Haledon.
I was working on the theremin sounds with much patience.
I was there when Lou Reed 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 Minor Threat to the techno kids.
I played it at the Troubador.
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 Johnny Osbourne. All the underground hits.
All Adolescents tracks. I heard you have a vinyl of every The Toasters record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glenn Branca,
Deadbeat,
the Sonics,
Rhythm & Sound,
Marine Girls,
Deepchord,
Bobby Hutcherson,
Jandek,
Reagan Youth,
New York Dolls,
Vainqueur,
Pantaleimon,
Cabaret Voltaire,
Main Source,
The Count Five,
Fluxion,
Adolescents,
Roger Hodgson,
8 Eyed Spy,
Rufus Thomas,
Todd Rundgren,
The Walker Brothers,
Tim Buckley,
Alison Limerick,
Bang On A Can,
Bronski Beat,
A Flock of Seagulls,
Bill Near,
Angels of Light & Akron/Family,
The Modern Lovers,
These Immortal Souls,
Stiv Bators,
Eli Mardock,
Mary Jane Girls,
Shoche,
Jerry Gold Smith,
Alice Coltrane,
KRS-One,
Juan Atkins,
Ken Boothe,
Eyeless In Gaza,
The Star Department,
Cal Tjader,
The Saints,
The Moleskins,
Sun Ra,
The Zeros,
John Cale,
Jawbox,
Girls At Our Best!,
Von Mondo,
Quando Quango,
Country Joe & The Fish,
Judy Mowatt,
Bush Tetras,
Sandy B,
Camberwell Now,
Brass Construction,
Subhumans,
The Dead C,
Gang Gang Dance,
Swans,
The Angels of Light, The Angels of Light, The Angels of Light, The Angels of Light.
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.