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 Burkina and from Tehran.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Shanghai and Delhi.
I'm losing my edge to the art-school Glasgow 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 harpsichord 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 Adolescents to the crunk kids.
I played it at CBGB's.
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 Sad Lovers and Giants. All the underground hits.
All The Detroit Cobras tracks. I heard you have a vinyl of every Pussy Galore 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 '70s cut and another box set from the '90s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a A Certain Ratio record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Loose Ends,
Sex Pistols,
the Normal,
Richard Hell and the Voidoids,
Sad Lovers and Giants,
Bill Near,
Robert Hood,
Guru Guru,
Rhythm & Sound,
The Angels of Light,
Surgeon,
Ultra Naté,
Ultramagnetic MC's,
Lou Reed,
June of 44,
John Cale,
Flamin' Groovies,
Pylon,
The Barracudas,
Robert Görl,
Dark Day,
Max Romeo,
Jesper Dahlbäck,
Hashim,
Roger Hodgson,
The Vogues,
Andrew Ashong & Theo Parrish,
Theoretical Girls,
Unwound,
Arab on Radar,
Clear Light,
The Trojans,
Marmalade,
Rotary Connection,
Circle Jerks,
Jerry's Kids,
X-102,
The Toasters,
MDC,
The Gun Club,
Steve Hackett,
The Fire Engines,
John Coltrane,
Siouxsie and the Banshees,
Arcadia,
Roy Ayers,
The Associates,
Selector Dub Narcotic,
Nick Fraelich,
Lyres,
Glenn Branca,
Suicide,
Ituana,
Godley & Creme,
Half Japanese,
OOIOO,
Mark Hollis,
Neil Young,
H. Thieme,
Bluetip,
Jandek,
Amon Düül II,
Parry Music,
Johnny Clarke,
Buzzcocks, Buzzcocks, Buzzcocks, Buzzcocks.
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.