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 Bosnia Herzegovina and from Taipei.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Hong Kong and Calgary.
I'm losing my edge to the art-school New York 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 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 Crash Course in Science to the punk 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 Donald Byrd. All the underground hits.
All Wasted Youth tracks. I heard you have a vinyl of every Cluster 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 '80s cut and another box set from the '80s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Moleskins record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Moon,
Monks,
Alice Coltrane,
Drive Like Jehu,
The Shadows of Knight,
Marmalade,
the Human League,
Davy DMX,
Amon Düül II,
The Monks,
It's A Beautiful Day,
Hasil Adkins,
The Durutti Column,
Moby Grape,
Mark Hollis,
Whodini,
The Fugs,
Underground Resistance,
Ludus,
Con Funk Shun,
Crash Course in Science,
World's Most,
The Divine Comedy,
Gerry Rafferty,
Traffic Nightmare,
Little Man,
Mantronix,
Lebanon Hanover,
Deutsch Amerikanische Freundschaft,
The Sisters of Mercy,
Marshall Jefferson,
Cal Tjader,
Black Pus,
The Blackbyrds,
Minor Threat,
X-102,
Ossler,
Gil Scott Heron,
Tommy Roe,
Ajijia Myrayebe,
Heaven 17,
Dennis Brown,
Lower 48,
New York Dolls,
Altered Images,
Sparks,
John Foxx,
Connie Case,
Albert Ayler,
Notorious BIG live in Amsterdam,
The Jesus and Mary Chain,
David McCallum,
Lindisfarne,
Henry Cow,
the Soft Cell,
Laurel Aitken,
The Alarm Clocks,
James White and The Blacks,
Eric Copeland,
Rhythim Is Rhythim,
Strawberry Alarm Clock,
Prince Buster,
Loose Ends,
Ituana, Ituana, Ituana, Ituana.
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.