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 Cameroon and from Manila.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Bremen and London.
I'm losing my edge to the art-school Lyon 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 1973 at the first Television practice in a loft in New York.
I was working on the linndrum 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 Harry Pussy to the dance 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 the Slits. All the underground hits.
All Underground Resistance tracks. I heard you have a vinyl of every Oblivians 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 '70s cut and another box set from the '80s.
I hear you're buying a marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Womack,
Echo & the Bunnymen,
Parry Music,
Johnny Osbourne,
June of 44,
Stetsasonic,
Fad Gadget,
Ash Ra Tempel,
Graham Central Station,
Q and Not U,
Don Cherry,
Kenny Larkin,
Byron Stingily,
Piero Umiliani,
Magazine,
Marc Almond,
Eve St. Jones,
Colin Newman,
Vaughan Mason & Crew,
Brothers Johnson,
Pagans,
The Slits,
Deadbeat,
Ossler,
Marmalade,
Yellowson,
Khruangbin,
MC5,
Big Daddy Kane,
Negative Approach,
Siouxsie and the Banshees,
Lucky Dragons,
Sunsets and Hearts,
Y Pants,
Camouflage,
Sparks,
Cabaret Voltaire,
Urselle,
Royal Trux,
Andrew Hill,
F. McDonald,
Maleditus Sound,
London Community Gospel Choir,
Monks,
the Normal,
Nation of Ulysses,
The Victims,
Liaisons Dangereuses,
The Walker Brothers,
The J.B.'s,
The Fall,
Deakin,
Ohio Players,
Unwound,
Fear,
Oblivians,
Trumans Water,
Black Pus,
The Remains,
Los Fastidios,
Stockholm Monsters,
Clear Light,
Glambeats Corp.,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.