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 Eritrea and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Taipei and Edmonton.
I'm losing my edge to the art-school Beijing 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 clarinet sounds with much patience.
I was there when Captain Beefheart 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 Crispian St. Peters to the rock kids.
I played it at Cafe Wha.
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 E-Dancer. All the underground hits.
All Rapeman tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band 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 '50s cut and another box set from the '70s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Main Source,
Avey Tare's Slasher Flicks,
Flash Fearless,
The Real Kids,
Don Cherry,
Crime,
The Cosmic Jokers,
Major Organ And The Adding Machine,
Radiohead,
The Sound,
Nick Fraelich,
Guru Guru,
Camberwell Now,
This Heat,
The American Breed,
Cabaret Voltaire,
Lou Christie,
Zapp,
Lyres,
Interpol,
H. Thieme,
Morten Harket,
Lou Reed,
Marc Almond,
Basic Channel,
L. Decosne,
The Slits,
Brass Construction,
Animal Collective,
Warsaw,
The Dirtbombs,
Panda Bear,
Black Flag,
Rapeman,
The Skatalites,
Grey Daturas,
Glambeats Corp.,
Rod Modell,
Louis and Bebe Barron,
The United States of America,
Liaisons Dangereuses,
Gil Scott-Heron & Brian Jackson,
kango's stein massive,
Camouflage,
Rosa Yemen,
DJ Sneak,
Ultimate Spinach,
Gian Franco Pienzio,
Nick Cave & The Bad Seeds,
Minnie Riperton,
The Smiths,
Kerri Chandler,
Soft Cell,
Letta Mbulu,
Eric Copeland,
Kerrie Biddell,
Röyhkä ja Rättö ja Lehtisalo,
the Human League,
Lebanon Hanover,
Strawberry Alarm Clock,
Au Pairs, Au Pairs, Au Pairs, Au Pairs.
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.