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 Bahrain and from Edmonton.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Winnipeg and Bremen.
I'm losing my edge to the art-school Bologna 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the güiro 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 Glenn Branca to the jazz 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 Derrick Morgan. All the underground hits.
All Junior Murvin tracks. I heard you have a vinyl of every Kerri Chandler record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Arcadia record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pop Group,
D'Angelo,
Grandmaster Flash,
Strawberry Alarm Clock,
Gabor Szabo,
The Names,
Beasts of Bourbon,
the Soft Cell,
H. Thieme,
The Seeds,
Max Romeo,
Tears for Fears,
Bobby Byrd,
The Jesus and Mary Chain,
Monks,
Gerry Rafferty,
Radiopuhelimet,
Bob Dylan,
Spandau Ballet,
Roy Ayers Ubiquity,
Quantec,
Kaleidoscope,
The Cosmic Jokers,
MDC,
Joensuu 1685,
Essential Logic,
Kool Moe Dee,
Mr. Review,
Siglo XX,
The Star Department,
MC5,
Roger Hodgson,
Das Ding,
DJ Sneak,
Maurizio,
Larry & the Blue Notes,
Yazoo,
Sugar Minott,
Rhythm & Sound,
Masters at Work,
The Fire Engines,
Make Up,
Arthur Verocai,
Derrick May,
Supertramp,
Gastr Del Sol,
Gregory Isaacs,
Peter Gordon & Love of Life Orchestra,
Average White Band,
Bang on a Can All-Stars,
The Selecter,
Marmalade,
Sound Behaviour,
Eric Dolphy,
Massinfluence,
Altered Images,
Iggy Pop,
Marc Romboy vs. Booka Shade,
Zapp,
The Techniques,
Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids.
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.