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 Congo and from New York.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1971.
I'm losing my edge.
To all the kids in Philadelphia and Paris.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
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 Dennis Brown to the rock kids.
I played it at the Crocodile.
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 Lalann. All the underground hits.
All Carl Craig tracks. I heard you have a vinyl of every The Angels of Light record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
the Slits,
David Bowie,
Nils Olav,
Chris & Cosey,
Depeche Mode,
Clear Light,
Joensuu 1685,
Eurythmics,
Prince Buster,
Josef K,
Jeff Mills,
Franke,
Dark Day,
Marshall Jefferson,
The Cramps,
D'Angelo,
Qualms,
R.M.O.,
Röyhkä ja Rättö ja Lehtisalo,
The Victims,
Mr. Review,
Hardrive,
Anthony Braxton,
Suburban Knight,
Eyeless In Gaza,
Danielle Patucci,
The Mighty Diamonds,
Gil Scott-Heron and Jamie xx,
The Evens,
Kauko Röyhkä ja Narttu,
Eli Mardock,
Motorama,
The Associates,
The Vogues,
Amon Düül II,
The Monochrome Set,
Harpers Bizarre,
Erasure,
Crispy Ambulance,
Michelle Simonal,
Thinking Fellers Union Local 282,
Graham Central Station,
One Last Wish,
Nas,
Arab on Radar,
Lower 48,
Richard Hell and the Voidoids,
Avey Tare,
Robert Wyatt,
Ash Ra Tempel,
Wings,
Black Flag,
Inner City,
The Knickerbockers,
Eric B and Rakim,
Grauzone,
Main Source,
Patti Smith,
Heavy D & The Boyz,
Nick Fraelich,
Tropical Tobacco,
The Doors, The Doors, The Doors, The Doors.
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.