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 Bahrain and from Edmonton.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Mumbai and Salvador.
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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the theremin sounds with much patience.
I was there when Nile Rodgers 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 Kinks to the punk 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 Martian. All the underground hits.
All Young Marble Giants tracks. I heard you have a vinyl of every The Wake record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Gong record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
cv313,
The Blackbyrds,
Cabaret Voltaire,
Ohio Players,
Moby Grape,
Echo & the Bunnymen,
The Jesus and Mary Chain,
The J.B.'s,
Delta 5,
L. Decosne,
The Five Americans,
Model 500,
Louis and Bebe Barron,
Morten Harket,
Smog,
Lebanon Hanover,
8 Eyed Spy,
Eric B and Rakim,
Tommy Roe,
R.M.O.,
the Normal,
The Mojo Men,
Jacques Brel,
Gong,
Danielle Patucci,
The Slits,
It's A Beautiful Day,
The Leaves,
Black Flag,
Kauko Röyhkä ja Narttu,
Black Bananas,
Gil Scott-Heron and Jamie xx,
Television Personalities,
Radiopuhelimet,
Lakeside,
Traffic Nightmare,
Chris & Cosey,
Sun Ra,
Shuggie Otis,
Drexciya,
Lalo Schifrin,
The Alarm Clocks,
Silicon Teens,
Marc Romboy vs. Booka Shade,
The Move,
The Gun Club,
The Searchers,
Eric Dolphy,
Sällskapet,
Byron Stingily,
Leonard Cohen,
Rowland S Howard / Lydia Lunch,
The Offenders,
Minor Threat,
Terry Callier,
KRS-One,
ABBA,
Janne Schatter,
Amazonics,
Mantronix,
the Germs,
the Swans, the Swans, the Swans, the Swans.
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.