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 Ecuador and from Tokyo.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Glasgow and New York.
I'm losing my edge to the art-school Bologna 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 Feelies practice in a loft in Haledon.
I was working on the guitar 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 Joey Negro to the electroclash kids.
I played it at the Hacienda.
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 Grauzone. All the underground hits.
All Camron Feat. Jay Z And Juelz tracks. I heard you have a vinyl of every Eli Mardock record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Eric B and Rakim record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The United States of America,
Jacob Miller,
Oppenheimer Analysis,
Carl Craig,
Connie Case,
Groovy Waters,
The Gun Club,
Depeche Mode,
Super Lover Cee & Casanova Rud,
The Dave Clark Five,
Barbara Tucker,
EPMD,
Bronski Beat,
Sight & Sound,
the Bar-Kays,
Throbbing Gristle,
cv313,
Gil Scott-Heron and Jamie xx,
Goldenarms,
The Velvet Underground,
Alice Coltrane,
Angry Samoans,
Terror Squad Feat. Camron,
the Soft Cell,
Juan Atkins,
Metal Thangz,
Lou Christie,
Matthew Bourne,
F. McDonald,
Accadde A,
Hardrive,
Joe Smooth,
Yazoo,
Thompson Twins,
The Black Dice,
Drive Like Jehu,
The Victims,
Jesper Dahlback,
Moby Grape,
Eric Dolphy,
The Moody Blues,
Fort Wilson Riot,
Grauzone,
Aural Exciters,
The Blues Magoos,
Silicon Teens,
The Evens,
Basic Channel,
The Stooges,
Warren Ellis,
Sex Pistols,
MC5,
Beasts of Bourbon,
Sun Ra Arkestra,
Second Layer,
Kerrie Biddell,
Deadbeat,
Reagan Youth,
Art Ensemble Of Chicago,
Adolescents,
The Flesh Eaters, The Flesh Eaters, The Flesh Eaters, The Flesh Eaters.
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.