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 South Sudan and from Tehran.
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 Houston and Manila.
I'm losing my edge to the art-school Tokyo 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the güiro 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 Blake Baxter to the funk kids.
I played it at CBGB's.
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 Public Enemy. All the underground hits.
All The Blues Magoos tracks. I heard you have a vinyl of every Q and Not U record on German import.
I heard that you have a white label of every seminal grime 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 guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Names 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?
Lyres,
Bang On A Can,
FM Einheit,
Delon & Dalcan,
Harmonia,
Grauzone,
Kool Moe Dee,
Susan Cadogan,
Q and Not U,
Fifty Foot Hose,
Scan 7,
Sällskapet,
Lou Reed,
Icehouse,
OOIOO,
Richard Hell and the Voidoids,
Barbara Tucker,
Super Lover Cee & Casanova Rud,
La Düsseldorf,
The Sound,
The Electric Prunes,
Harry Pussy,
Adolescents,
the Normal,
Notorious BIG live in Amsterdam,
Newcleus,
the Association,
Joensuu 1685,
Gabor Szabo,
Art Ensemble Of Chicago,
Matthew Halsall,
Alton Ellis,
Barclay James Harvest,
T.S.O.L.,
Cameo,
Mr. Review,
Glenn Branca,
Ken Boothe,
Stiv Bators,
Ultimate Spinach,
Second Layer,
Nirvana,
Robert Hood,
The Five Americans,
Radio Birdman,
The Smoke,
Swell Maps,
The West Coast Pop Art Experimental Band,
Scion,
Oppenheimer Analysis,
A Flock of Seagulls,
DeepChord presents Echospace,
Fear,
The Pretty Things,
Pere Ubu,
Colin Newman,
Siouxsie and the Banshees,
Tropical Tobacco,
Massinfluence,
Rod Modell,
Justin Hinds & The Dominoes,
Joyce Sims,
Sticky Fingaz feat. Raekwon,
Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock.
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.