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 Venezuela and from Madrid.
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 1977.
I'm losing my edge.
To all the kids in Tehran and Milan.
I'm losing my edge to the art-school Tehran 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 1967 at the first Rodriguez practice in a loft in Detroit.
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 Tomorrow to the dance 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 Kerrie Biddell. All the underground hits.
All Mars tracks. I heard you have a vinyl of every Can 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 '80s cut and another box set from the '90s.
I hear you're buying a rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet 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?
Hashim,
Babytalk,
June Days,
Bootsy's Rubber Band,
Howard Jones,
Harry Pussy,
China Crisis,
Quadrant,
OOIOO,
Cecil Taylor,
8 Eyed Spy,
Aaron Thompson,
Wasted Youth,
The Chocolate Watch Band,
Blake Baxter,
The Cure,
Gang Starr,
The Fire Engines,
Desert Stars,
The Raincoats,
Lebanon Hanover,
Unwound,
Susan Cadogan,
Soft Machine,
KRS-One,
Ituana,
Sam Rivers,
Franke,
JFA,
The Music Machine,
Ornette Coleman,
Shoche,
Easy Going,
The Wake,
Y Pants,
Boz Scaggs,
The Sisters of Mercy,
Eric Copeland,
Darondo,
The American Breed,
the Association,
Pole,
Dead Boys,
Deutsch Amerikanische Freundschaft,
Fluxion,
EPMD,
Fear,
Pylon,
Juan Atkins,
Nation of Ulysses,
The Mighty Diamonds,
Orchestral Manoeuvres in the Dark,
The Remains,
Matthew Halsall,
LL Cool J,
Pete Rock & C.L. Smooth,
Little Man,
The Golliwogs,
10cc,
Dr. Dre and Snoop Doggy Dog,
The Dead C, The Dead C, The Dead C, The Dead C.
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.