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 Ireland and from Tehran.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Lyon and Accra.
I'm losing my edge to the art-school Accra 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 guitar 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 Rekid to the jazz kids.
I played it at the Spitz.
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 Soulsonic Force. All the underground hits.
All Manfred Mann's Earth Band tracks. I heard you have a vinyl of every Bobbi Humphrey 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 '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Henry Cow record.
I hear that you and your band have sold your sitar and bought a güiro.
I hear that you and your band have sold your güiro and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Vogues,
Scratch Acid,
Barbara Tucker,
The Gladiators,
Oppenheimer Analysis,
The Cramps,
Subhumans,
Crime,
Gichy Dan,
Thee Headcoats,
Banda Bassotti,
Cal Tjader,
Lou Christie,
Jerry Gold Smith,
Crash Course in Science,
Susan Cadogan,
Chris & Cosey,
The Slackers,
Procol Harum,
Soft Machine,
Bang On A Can,
Spandau Ballet,
The Victims,
H. Thieme,
The Pop Group,
Marc Almond,
Heaven 17,
Howard Jones,
Connie Case,
the Association,
Gil Scott Heron,
Eric Dolphy,
The Residents,
Terrestrial Tones,
Gastr Del Sol,
Half Japanese,
UT,
Crispian St. Peters,
Josef K,
Von Mondo,
Barclay James Harvest,
the Germs,
Cluster,
Kango’s Stein Massive,
Pere Ubu,
X-102,
This Heat,
Sexual Harrassment,
Brothers Johnson,
The Slits,
Kenny Larkin,
Nas,
Beasts of Bourbon,
Faust,
Sunsets and Hearts,
Throbbing Gristle,
Sonny Sharrock,
Roger Hodgson,
Electric Light Orchestra,
B.T. Express,
Schoolly D,
Unrelated Segments,
Echospace, Echospace, Echospace, Echospace.
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.