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 Paraguay and from Lyon.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1975.
I'm losing my edge.
To all the kids in Calgary and Halifax.
I'm losing my edge to the art-school Tehran 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 synthesizer 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 The Techniques to the grunge 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 Avey Tare's Slasher Flicks. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Mark Hollis 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 '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Angels of Light,
Jerry's Kids,
Terror Squad Feat. Camron,
The Names,
Amon Düül,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Index,
The Gories,
The Fuzztones,
Rufus Thomas,
Amazonics,
Teenage Jesus and the Jerks,
Quando Quango,
The Motions,
The Blackbyrds,
Lakeside,
48th St. Collective,
The Toasters,
OOIOO,
the Fania All-Stars,
Sonic Youth,
Skarface,
Ohio Players,
Tom Boy,
ABBA,
The Evens,
Kool Moe Dee,
Infiniti,
Brand Nubian,
Technova,
Supertramp,
Albert Ayler,
Goldenarms,
Tommy Roe,
Roy Ayers Ubiquity,
Arthur Verocai,
Eurythmics,
Be Bop Deluxe,
Jandek,
The Star Department,
Gregory Isaacs,
The Cure,
Blancmange,
DJ Style,
The Misunderstood,
The Birthday Party,
Wasted Youth,
Fugazi,
Tim Buckley,
Crime,
Kerrie Biddell,
World's Most,
The Flesh Eaters,
Stockholm Monsters,
A Flock of Seagulls,
The Fugs,
Y Pants,
Section 25,
The American Breed,
Das Ding,
Von Mondo,
Avey Tare's Slasher Flicks,
Tres Demented, Tres Demented, Tres Demented, Tres Demented.
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.