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 Comoros and from Cairo.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Sao Paulo.
I'm losing my edge to the art-school Madrid 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 Selda practice in a loft in Istanbul.
I was working on the rhodes 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 Blancmange to the techno kids.
I played it at the Hacienda.
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 Interpol. All the underground hits.
All Crash Course in Science tracks. I heard you have a vinyl of every The Fugs record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Sun City Girls record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glenn Branca,
The Jesus and Mary Chain,
Swell Maps,
Janne Schatter,
Marc Almond,
Reagan Youth,
Sonny Sharrock,
Supertramp,
The Real Kids,
Underground Resistance,
Joey Negro,
It's A Beautiful Day,
Pere Ubu,
Godley & Creme,
Infiniti,
Shoche,
the Swans,
Althea and Donna,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Barclay James Harvest,
The Index,
Dr. Dre and Snoop Doggy Dog,
Maleditus Sound,
Symarip,
Amon Düül II,
Eric Copeland,
Archie Shepp,
Sun Ra,
The Red Krayola,
Public Enemy,
Hoover,
Kool G Rap & DJ Polo,
James Chance & The Contortions,
Half Japanese,
The Walker Brothers,
The United States of America,
La Düsseldorf,
Interpol,
The Sound,
Deutsch Amerikanische Freundschaft,
Dead Boys,
Mr. Review,
Bush Tetras,
Alice Coltrane,
Barry Ungar,
The Detroit Cobras,
Sandy B,
Quando Quango,
Schoolly D,
Steve Hackett,
Joensuu 1685,
Be Bop Deluxe,
Carl Craig,
Peter and Kerry,
Dennis Brown,
Pussy Galore,
Fort Wilson Riot,
Country Teasers,
Gastr Del Sol,
Lebanon Hanover,
Stockholm Monsters,
X-Ray Spex,
Khruangbin,
Susan Cadogan, Susan Cadogan, Susan Cadogan, Susan Cadogan.
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.