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 Belgium and from Johannesburg.
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 1963 to 1979.
I'm losing my edge.
To all the kids in London and Jakarta.
I'm losing my edge to the art-school Salvador 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 spring reverb sounds with much patience.
I was there when Donald Fagen 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 Morten Harket to the disco 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 Ultravox. All the underground hits.
All Gil Scott-Heron and Jamie xx tracks. I heard you have a vinyl of every Peter and Kerry record on German import.
I heard that you have a white label of every seminal jazz 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 an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Inner City record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronan,
John Cale,
MC5,
The Martian,
Dead Boys,
The Durutti Column,
Eve St. Jones,
Jeff Lynne,
The Slackers,
Circle Jerks,
Kings Of Tomorrow,
Bobby Sherman,
Marine Girls,
Ajijia Myrayebe,
Skaos,
The Zeros,
Roxy Music,
Ultra Naté,
Nirvana,
Minor Threat,
The Buckinghams,
Graham Central Station,
Rekid,
The Blues Magoos,
Pharoah Sanders,
Q and Not U,
Youth Brigade,
Anakelly,
Jandek,
L. Decosne,
Inner City,
Lebanon Hanover,
Chris Corsano,
Cal Tjader,
David Axelrod,
Joyce Sims,
Barbara Tucker,
kango's stein massive,
Fugazi,
Mark Hollis,
The Trojans,
Sex Pistols,
The Music Machine,
Wasted Youth,
Quantec,
Lou Christie,
Jerry Gold Smith,
Captain Beefheart & His Magic Band,
Harry Pussy,
Ultimate Spinach,
Cluster,
Niagra,
Tom Boy,
The Names,
The Neon Judgement,
The Dead C,
The United States of America,
The West Coast Pop Art Experimental Band,
The Offenders,
Letta Mbulu,
Minnie Riperton,
Half Japanese, Half Japanese, Half Japanese, Half Japanese.
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.