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 Gambia and from Edmonton.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1974.
I'm losing my edge.
To all the kids in Columbus and Winnipeg.
I'm losing my edge to the art-school Toronto 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 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 Main Source to the rock kids.
I played it at the Hacienda.
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 Whodini. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every Scion record on German import.
I heard that you have a white label of every seminal rock 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 harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Echospace record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mighty Diamonds,
Heaven 17,
Ossler,
Strawberry Alarm Clock,
Charles Mingus,
Rhythm & Sound,
Patti Smith,
Lucky Dragons,
Hardrive,
Spoonie Gee,
Tim Buckley,
Mr. Review,
The Gladiators,
Quantec,
Sugar Minott,
Sun City Girls,
Super Lover Cee & Casanova Rud,
Second Layer,
Grandmaster Flash and the Furious Five,
Buzzcocks,
Bronski Beat,
Lindisfarne,
Magma,
Little Man,
Tommy Roe,
Oneida,
Brothers Johnson,
The Remains,
Steve Hackett,
Kas Product,
Mantronix,
Q65,
Tomorrow,
Magazine,
The Pop Group,
Barclay James Harvest,
Mark Hollis,
The Motions,
MC5,
The Evens,
Crispian St. Peters,
PIL,
Scott Walker,
Sam Rivers,
Agitation Free,
Flamin' Groovies,
Jeff Mills,
The Zeros,
Swans,
Bobby Womack,
L. Decosne,
The Fugs,
X-Ray Spex,
James White and The Blacks,
Altered Images,
The Seeds,
Half Japanese,
Davy DMX,
T.S.O.L.,
The Durutti Column,
Aural Exciters,
Stereo Dub,
Colin Newman,
Young Marble Giants, Young Marble Giants, Young Marble Giants, Young Marble Giants.
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.