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 United States and from Johannesburg.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Paris.
I'm losing my edge to the art-school Woodstock 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 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 The New Christs to the funk kids.
I played it at the Astoria.
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 Liaisons Dangereuses. All the underground hits.
All Technova tracks. I heard you have a vinyl of every Q and Not U record on German import.
I heard that you have a white label of every seminal punk 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 a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Grey Daturas record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
World's Most,
Blossom Toes,
Siouxsie and the Banshees,
Marshall Jefferson,
Vainqueur,
Boredoms,
The Modern Lovers,
Darondo,
Chris & Cosey,
Art Ensemble Of Chicago,
the Human League,
The Fugs,
The Techniques,
DJ Style,
Nation of Ulysses,
T.S.O.L.,
Don Cherry,
June Days,
Au Pairs,
Rahsaan Roland Kirk,
Basic Channel,
Marc Romboy vs. Booka Shade,
Soulsonic Force,
Lindisfarne,
X-101,
Rekid,
Fat Boys,
Beasts of Bourbon,
Mark Hollis,
Shuggie Otis,
Eric Copeland,
Reuben Wilson,
The Human League,
Juan Atkins,
Fort Wilson Riot,
London Community Gospel Choir,
Severed Heads,
Rites of Spring,
The Tremeloes,
Brick,
Joey Negro,
Glambeats Corp.,
The Gun Club,
Idris Muhammad,
JFA,
X-102,
Unwound,
The Mighty Diamonds,
Cybotron,
The Music Machine,
Lyres,
The Kinks,
Lou Christie,
The Chocolate Watch Band,
David Axelrod,
Louis and Bebe Barron,
Pierre Henry,
DNA,
Pagans,
A Certain Ratio,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.