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 Moldova 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 1960 to 1978.
I'm losing my edge.
To all the kids in Portland and Salvador.
I'm losing my edge to the art-school Manila 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 oboe 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 Graham Central Station to the jazz kids.
I played it at the Astoria.
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 Eric Copeland. All the underground hits.
All New Order tracks. I heard you have a vinyl of every Dual Sessions record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Glambeats Corp. record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zero Boys,
Bauhaus,
Brothers Johnson,
The Sound,
Basic Channel,
Gang Green,
The Vogues,
Skarface,
Los Fastidios,
Barry Ungar,
a-ha,
Chris & Cosey,
Matthew Bourne,
Excepter,
New York Dolls,
DeepChord presents Echospace,
Maleditus Sound,
H. Thieme,
The Slackers,
John Coltrane,
The Count Five,
Kas Product,
the Bar-Kays,
The Knickerbockers,
Rhythim Is Rhythim,
Smog,
Eric Dolphy,
Lebanon Hanover,
The Modern Lovers,
Kango’s Stein Massive,
Ornette Coleman,
Letta Mbulu,
Skriet,
B.T. Express,
Franke,
Hoover,
James White and The Blacks,
Aaron Thompson,
Matthew Halsall,
Mad Mike,
Tubeway Army,
Depeche Mode,
Camberwell Now,
The Zeros,
Banda Bassotti,
Louis and Bebe Barron,
Barclay James Harvest,
48th St. Collective,
Rufus Thomas,
The New Christs,
The Peanut Butter Conspiracy,
Moss Icon,
Sad Lovers and Giants,
Simply Red,
Alton Ellis,
Fatback Band,
Clear Light,
Fugazi,
Avey Tare,
The Kinks,
Outsiders,
Country Teasers,
Angry Samoans,
Funky Four + One, Funky Four + One, Funky Four + One, Funky Four + One.
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.