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 Slovakia and from Glasgow.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1977.
I'm losing my edge.
To all the kids in Tehran and Houston.
I'm losing my edge to the art-school Lyon 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 arpeggiator 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 Vladislav Delay to the electroclash kids.
I played it at the Troubador.
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 Sugar Minott. All the underground hits.
All Louis and Bebe Barron tracks. I heard you have a vinyl of every Panda Bear record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Banda Bassotti record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kango’s Stein Massive,
Pantytec,
the Germs,
Siouxsie and the Banshees,
Flamin' Groovies,
H. Thieme,
Schoolly D,
The Evens,
Hasil Adkins,
Stetsasonic,
Whodini,
The Neon Judgement,
Heavy D & The Boyz,
Chrome,
Cluster,
Minor Threat,
Janne Schatter,
Gian Franco Pienzio,
Interpol,
The Count Five,
Lou Reed,
The Offenders,
Slave,
Alice Coltrane,
Alton Ellis,
Judy Mowatt,
Fluxion,
Crime,
Skriet,
Section 25,
Lucky Dragons,
Ralphi Rosario,
The Doors,
Dr. Dre and Snoop Doggy Dog,
Pharoah Sanders,
The Gladiators,
Althea and Donna,
Massinfluence,
Neil Young,
Peter and Kerry,
The Knickerbockers,
Deutsch Amerikanische Freundschaft,
Kurtis Blow,
Henry Cow,
the Swans,
Marc Almond,
Lyres,
Man Eating Sloth,
Kauko Röyhkä ja Narttu,
Wings,
Soft Cell,
Radiohead,
Pet Shop Boys,
Lonnie Liston Smith,
Lightning Bolt,
Gichy Dan,
Oneida,
Joensuu 1685,
Glambeats Corp.,
the Bar-Kays, the Bar-Kays, the Bar-Kays, the Bar-Kays.
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.