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 Saudi Arabia and from Salvador.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Delhi and Bologna.
I'm losing my edge to the art-school Lagos 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 Pulsallama to the rock kids.
I played it at CBGB's.
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 Tim Buckley. All the underground hits.
All Nick Fraelich tracks. I heard you have a vinyl of every Wire record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Crash Course in Science record.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear that you and your band have sold your guitar 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?
T. Rex,
Peter and Kerry,
La Düsseldorf,
Bobbi Humphrey,
Severed Heads,
Cecil Taylor,
Max Romeo,
Amon Düül,
Lou Reed & Metallica,
The Seeds,
Marc Romboy vs. Booka Shade,
Moebius,
Black Sheep,
Magazine,
Siglo XX,
The Fall,
Harpers Bizarre,
Kaleidoscope,
the Slits,
Howard Jones,
The Peanut Butter Conspiracy,
Eddi Front,
Wire,
Parry Music,
Albert Ayler,
DJ Sneak,
Traffic Nightmare,
Warren Ellis,
In Retrospect,
The Cramps,
Throbbing Gristle,
Visionaries,LMNO, T- Love & Iriscience,
The Associates,
KRS-One,
Monolake,
The Skatalites,
Pussy Galore,
the Association,
Rosa Yemen,
Gang Gang Dance,
Pylon,
Jerry Gold Smith,
Drive Like Jehu,
Subhumans,
Ornette Coleman,
The New Christs,
Skriet,
Talk Talk,
Index,
Stockholm Monsters,
Blake Baxter,
Alice Coltrane,
The Blues Magoos,
Sun City Girls,
Motorama,
Joyce Sims,
Q65,
Moss Icon,
Neil Young & Crazy Horse,
Grandmaster Flash, Grandmaster Flash, Grandmaster Flash, Grandmaster Flash.
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.