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 Lesotho and from New York.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Delhi.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the spring reverb sounds with much patience.
I was there when Lou Reed 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 Charles Mingus to the jazz kids.
I played it at Cafe Wha.
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 Quando Quango. All the underground hits.
All Danielle Patucci tracks. I heard you have a vinyl of every Drexciya record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a spring reverb 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 chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Sonics,
The Chocolate Watch Band,
Faraquet,
Alison Limerick,
The Five Americans,
Banda Bassotti,
Quadrant,
Super Lover Cee & Casanova Rud,
The Moleskins,
Curtis Mayfield,
Soul Sonic Force,
Glenn Branca,
JFA,
Jerry's Kids,
The Neon Judgement,
The Real Kids,
Sight & Sound,
Kurtis Blow,
Jandek,
Royal Trux,
Maurizio,
Crash Course in Science,
Vladislav Delay,
Barrington Levy,
Dual Sessions,
Inner City,
Matthew Bourne,
Henry Cow,
Avey Tare's Slasher Flicks,
CMW,
World's Most,
Alphaville,
Derrick May,
Be Bop Deluxe,
Kings Of Tomorrow,
Sexual Harrassment,
Liliput,
Bill Wells,
Ronnie Foster,
Oppenheimer Analysis,
T. Rex,
The Birthday Party,
Underground Resistance,
China Crisis,
Livin' Joy,
Duran Duran,
Marc Almond,
Cymande,
Sonic Youth,
Dave Gahan,
Gang Gang Dance,
Nas,
Y Pants,
Theoretical Girls,
Drexciya,
Traffic Nightmare,
Fat Boys,
Deepchord,
The Monks,
Nils Olav,
KRS-One,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.