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 Swaziland and from Paris.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Halifax and Edmonton.
I'm losing my edge to the art-school Lagos 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the clarinet 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 Unrelated Segments to the rock 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 Howard Jones. All the underground hits.
All One Last Wish tracks. I heard you have a vinyl of every Eden Ahbez record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Metal Thangz record.
I hear that you and your band have sold your mellotron and bought a snare.
I hear that you and your band have sold your snare and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Copeland,
Wally Richardson,
Donald Byrd,
Ultra Naté,
Pierre Henry,
The Seeds,
Newcleus,
Mad Mike,
Alton Ellis,
Big Daddy Kane,
The Modern Lovers,
Ultravox,
Bootsy Collins,
Surgeon,
Unrelated Segments,
A Certain Ratio,
Sun City Girls,
Basic Channel,
The American Breed,
Rod Modell,
Das Ding,
Art Ensemble Of Chicago,
Joe Smooth,
Tom Boy,
Crispian St. Peters,
David Axelrod,
Boogie Down Productions,
The Monks,
Blossom Toes,
Gabor Szabo,
The Cowsills,
Buzzcocks,
Kool Moe Dee,
Barry Ungar,
The Music Machine,
Camouflage,
The Doobie Brothers,
Ronan,
The Electric Prunes,
MDC,
The Slits,
Bad Manners,
Ohio Players,
Susan Cadogan,
Vladislav Delay,
Dual Sessions,
Gichy Dan,
MC5,
Franke,
Magazine,
Grey Daturas,
Visage,
The Human League,
Lalann,
Gang of Four,
Q and Not U,
Khruangbin,
Rosa Yemen,
Mission of Burma,
Camron Feat. Memphis Bleek And Beenie Seigel,
Fat Boys, Fat Boys, Fat Boys, Fat Boys.
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.