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 Burundi and from London.
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 1966 to 1975.
I'm losing my edge.
To all the kids in New York and Lyon.
I'm losing my edge to the art-school Seoul 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 spring reverb 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 Jeff Lynne to the rock kids.
I played it at the Astoria.
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 Cal Tjader. All the underground hits.
All Robert Wyatt tracks. I heard you have a vinyl of every Danielle Patucci record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your spring reverb and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Move,
Wire,
Barrington Levy,
Andrew Ashong & Theo Parrish,
James Chance & The Contortions,
Orchestral Manoeuvres in the Dark,
Patti Smith,
Stockholm Monsters,
Eric B and Rakim,
Bang on a Can All-Stars,
The Velvet Underground,
Boredoms,
The Five Americans,
Rufus Thomas,
Nils Olav,
Ken Boothe,
Sugar Minott,
Stetsasonic,
Mo-Dettes,
Sun Ra Arkestra,
Theoretical Girls,
The Neon Judgement,
Reagan Youth,
Jawbox,
Notorious Big And Bone Thugs,
Gichy Dan,
Altered Images,
Art Ensemble Of Chicago,
Lee Hazlewood,
Bluetip,
The Jesus and Mary Chain,
Sister Nancy,
the Slits,
Amazonics,
Nas,
The Modern Lovers,
Slave,
Magma,
Bobbi Humphrey,
Cheater Slicks,
Gary Puckett & The Union Gap,
ABC,
The Peanut Butter Conspiracy,
Index,
Faraquet,
Sexual Harrassment,
The Tremeloes,
The Doobie Brothers,
Maleditus Sound,
Tropical Tobacco,
The Moleskins,
The Names,
Schoolly D,
the Association,
Drexciya,
Red Lorry Yellow Lorry,
Saccharine Trust,
Outsiders,
Young Marble Giants,
The Gun Club,
Bootsy Collins,
Kool G Rap & DJ Polo,
Bauhaus, Bauhaus, Bauhaus, Bauhaus.
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.