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 Congo and from Bremen.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 New York and Bremen.
I'm losing my edge to the art-school Glasgow 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the arpeggiator 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 Ultramagnetic MC's to the disco 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 The Real Kids. All the underground hits.
All Buzzcocks tracks. I heard you have a vinyl of every Jesper Dahlback record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Pole record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kurtis Blow,
Marmalade,
Siouxsie and the Banshees,
The Fugs,
Orchestral Manoeuvres in the Dark,
Jandek,
The Blues Magoos,
Audionom,
Ponytail,
Deepchord,
Gil Scott-Heron & Brian Jackson,
Black Flag,
Faust,
Blossom Toes,
John Foxx,
Lindisfarne,
The Dirtbombs,
Major Organ And The Adding Machine,
Zapp,
Camberwell Now,
The Detroit Cobras,
Thee Headcoats,
Circle Jerks,
Minutemen,
Swans,
Pagans,
Kango’s Stein Massive,
The Offenders,
Lee Hazlewood,
The Selecter,
Ituana,
Technova,
Wasted Youth,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Magazine,
The Sound,
Smog,
Arcadia,
Cheater Slicks,
Public Enemy,
Theoretical Girls,
Neu!,
Captain Beefheart & His Magic Band,
Jimmy McGriff,
Yazoo,
Minor Threat,
Q and Not U,
Make Up,
Tim Buckley,
D'Angelo,
Judy Mowatt,
Grauzone,
The Star Department,
Black Sheep,
Eurythmics,
Stereo Dub,
Minny Pops,
Rapeman,
Mo-Dettes,
The Fortunes,
The Black Dice,
Spoonie Gee,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.