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 Turkey and from Portland.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1973.
I'm losing my edge.
To all the kids in Mumbai and New York.
I'm losing my edge to the art-school Manchester 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the spring reverb 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 Spandau Ballet to the punk kids.
I played it at Trash.
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 Nils Olav. All the underground hits.
All Crispy Ambulance tracks. I heard you have a vinyl of every The Moody Blues 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 '50s cut and another box set from the '80s.
I hear you're buying a guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Lightning Bolt record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Buzzcocks,
Brothers Johnson,
Johnny Clarke,
Red Lorry Yellow Lorry,
Bobby Byrd,
Moss Icon,
F. McDonald,
Gary Puckett & The Union Gap,
The Buckinghams,
Joyce Sims,
The Smoke,
Anthony Braxton,
Terry Callier,
Grandmaster Flash and the Furious Five,
Notorious Big And Bone Thugs,
The Fire Engines,
Sun City Girls,
Eurythmics,
Marine Girls,
The Gories,
Rekid,
Nik Kershaw,
Rhythim Is Rhythim,
The Cure,
One Last Wish,
Faraquet,
Thinking Fellers Union Local 282,
The Count Five,
the Slits,
Crispy Ambulance,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Scrapy,
The Victims,
Tres Demented,
Eric Copeland,
Deadbeat,
Interpol,
Oneida,
The Evens,
Little Man,
The Saints,
Flipper,
Subhumans,
The Red Krayola,
Lindisfarne,
Yazoo,
Sight & Sound,
Japan,
Andrew Ashong & Theo Parrish,
Lizzy Mercier Descloux,
Major Organ And The Adding Machine,
Skaos,
Bootsy's Rubber Band,
The West Coast Pop Art Experimental Band,
Susan Cadogan,
Deakin,
The Five Americans,
Newcleus,
Heavy D & The Boyz,
Rosa Yemen,
The Velvet Underground,
Grauzone,
Deepchord, Deepchord, Deepchord, Deepchord.
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.