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 Taiwan and from Lille.
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 1978.
I'm losing my edge.
To all the kids in Salvador and Portland.
I'm losing my edge to the art-school London 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the theremin sounds with much patience.
I was there when David Bowie 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 The Alarm Clocks to the rock kids.
I played it at the Roxy.
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 Fela Kuti. All the underground hits.
All John Cale tracks. I heard you have a vinyl of every Reuben Wilson 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 '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Schoolly D,
Thompson Twins,
Nas,
Camouflage,
Altered Images,
Simply Red,
Steve Hackett,
Bad Manners,
Todd Terry,
Dorothy Ashby,
Don Cherry,
Boogie Down Productions,
The Beau Brummels,
Soulsonic Force,
Yazoo,
Man Eating Sloth,
Notorious BIG live in Amsterdam,
Bill Near,
Faraquet,
Young Marble Giants,
Richard Hell and the Voidoids,
Erykah Badu,
CMW,
Motorama,
Arab on Radar,
The Electric Prunes,
Derrick May,
Rhythim Is Rhythim,
Popol Vuh,
Stetsasonic,
Stereo Dub,
The Pop Group,
The Divine Comedy,
Peter & Gordon,
Wighnomy Brothers & Robag Wruhme,
Silicon Teens,
Swell Maps,
Neil Young,
Fear,
Spandau Ballet,
Albert Ayler,
The Gladiators,
Lee Hazlewood,
The Royal Family And The Poor,
F. McDonald,
Spoonie Gee,
Bobby Byrd,
Patti Smith,
Soft Cell,
One Last Wish,
Gang of Four,
The Martian,
Section 25,
Camberwell Now,
Absolute Body Control,
Boz Scaggs,
James Chance & The Contortions,
The Detroit Cobras,
New York Dolls,
Tomorrow,
Jandek,
The New Christs,
The Dirtbombs, The Dirtbombs, The Dirtbombs, The Dirtbombs.
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.