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 Spain and from Bologna.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Bremen and Mumbai.
I'm losing my edge to the art-school Jakarta 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the chamberlin 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 Sly & The Family Stone to the jazz kids.
I played it at the Troubador.
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 Trojans. All the underground hits.
All Amazonics tracks. I heard you have a vinyl of every Ronnie Foster record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neil Young & Crazy Horse,
The Slits,
Country Joe & The Fish,
Monolake,
Rahsaan Roland Kirk,
Siouxsie and the Banshees,
Bizarre Inc.,
Slick Rick,
Heaven 17,
Alison Limerick,
Maleditus Sound,
Cameo,
Sex Pistols,
Max Romeo,
Peter & Gordon,
Ultravox,
Peter Gordon & Love of Life Orchestra,
Barclay James Harvest,
the Slits,
Television,
Sällskapet,
Chrome,
Scientists,
Yaz,
Porter Ricks,
Organ,
Kerrie Biddell,
Wasted Youth,
FM Einheit,
Faust,
Rhythim Is Rhythim,
Trumans Water,
Massinfluence,
OOIOO,
Kings Of Tomorrow,
Carl Craig,
Albert Ayler,
Kas Product,
Marcia Griffiths,
John Coltrane,
Ossler,
Fifty Foot Hose,
A Certain Ratio,
The American Breed,
Half Japanese,
Lonnie Liston Smith,
Moby Grape,
Jacob Miller,
Grauzone,
Toni Rubio,
Avey Tare's Slasher Flicks,
Aloha Tigers,
Gregory Isaacs,
Stiv Bators,
Jacques Brel,
The Neon Judgement,
Charles Mingus,
Popol Vuh,
Quantec,
Eyeless In Gaza,
Eve St. Jones,
Gang Green, Gang Green, Gang Green, Gang Green.
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.