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 Serbia and from Madrid.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Lille.
I'm losing my edge to the art-school Paris 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 mellotron sounds with much patience.
I was there when Tom Verlaine 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 The Standells to the disco kids.
I played it at the 40 Watt.
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 Bauhaus. All the underground hits.
All Newcleus tracks. I heard you have a vinyl of every The Gladiators record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Roxette record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rufus Thomas,
Notorious Big And Bone Thugs,
The Residents,
Warsaw,
Jesper Dahlback,
The Shadows of Knight,
Faust,
Zero Boys,
Manfred Mann's Earth Band,
Desert Stars,
Scott Walker,
Blancmange,
Scion,
Yellowson,
The Modern Lovers,
Rotary Connection,
EPMD,
Pete Rock & C.L. Smooth,
Circle Jerks,
The Gories,
Excepter,
Max Romeo,
Soft Machine,
Jesper Dahlbäck,
Warren Ellis,
Hardrive,
Heaven 17,
FM Einheit,
Second Layer,
Curtis Mayfield,
Quantec,
Procol Harum,
Talk Talk,
Eli Mardock,
Janne Schatter,
Gil Scott-Heron and Jamie xx,
Joey Negro,
Underground Resistance,
Eddi Front,
Sarah Menescal,
Ornette Coleman,
Gong,
Rhythim Is Rhythim,
Black Pus,
Mantronix,
Gang Green,
Royal Trux,
Main Source,
Heavy D & The Boyz,
Q and Not U,
The Young Rascals,
Dawn Penn,
Alison Limerick,
Sällskapet,
Boogie Down Productions,
Aswad,
Pharaoh Sanders and the Fire Engines,
Minny Pops,
Neu!,
Fear,
Eurythmics,
Aaron Thompson,
Morten Harket,
Skaos, Skaos, Skaos, Skaos.
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.