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 Taiwan and from Johannesburg.
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 1972.
I'm losing my edge.
To all the kids in Tehran and Lyon.
I'm losing my edge to the art-school Johannesburg 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the güiro sounds with much patience.
I was there when David Bowie 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 Banda Bassotti to the grunge kids.
I played it at the Crocodile.
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 Morten Harket. All the underground hits.
All The Real Kids tracks. I heard you have a vinyl of every Sun Ra record on German import.
I heard that you have a white label of every seminal electroclash 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 snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Sarah Menescal record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Steve Hackett,
Amon Düül,
Section 25,
The Neon Judgement,
Ohio Players,
Marc Romboy vs. Booka Shade,
Deepchord,
Super Lover Cee & Casanova Rud,
Fad Gadget,
Ralphi Rosario,
Outsiders,
The Barracudas,
The Blues Magoos,
Eurythmics,
The Gap Band,
Nils Olav,
Malaria!,
Funky Four + One,
The Happenings,
Faraquet,
LL Cool J,
Tropical Tobacco,
One Last Wish,
Throbbing Gristle,
Das Ding,
The Mummies,
Andrew Ashong & Theo Parrish,
The Red Krayola,
Tears for Fears,
Pantytec,
Mad Mike,
The Fall,
Crash Course in Science,
Graham Central Station,
The Beau Brummels,
Country Joe & The Fish,
Röyhkä ja Rättö ja Lehtisalo,
Model 500,
The Dave Clark Five,
The Saints,
The West Coast Pop Art Experimental Band,
Bobby Sherman,
The Blackbyrds,
Deadbeat,
Minor Threat,
UT,
Boogie Down Productions,
Blake Baxter,
Moby Grape,
Tres Demented,
Vaughan Mason & Crew,
Agitation Free,
John Holt,
Camouflage,
Shuggie Otis,
Deutsch Amerikanische Freundschaft,
Barrington Levy,
Kool G Rap & DJ Polo,
Japan,
Sister Nancy,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.