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 South Sudan and from Copenhagen.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1971.
I'm losing my edge.
To all the kids in Lagos and Winnipeg.
I'm losing my edge to the art-school Columbus 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 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 Neil Young to the crunk kids.
I played it at the Spitz.
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 Symarip. All the underground hits.
All Donny Hathaway tracks. I heard you have a vinyl of every Lucky Dragons 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 '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hardrive,
Jawbox,
The Modern Lovers,
Byron Stingily,
Panda Bear,
Blancmange,
Swans,
Negative Approach,
Joyce Sims,
Letta Mbulu,
Quando Quango,
Bootsy's Rubber Band,
The Skatalites,
Circle Jerks,
Ornette Coleman,
The Five Americans,
Arcadia,
Dawn Penn,
Cabaret Voltaire,
Model 500,
Ken Boothe,
Dorothy Ashby,
Darondo,
A Certain Ratio,
Oppenheimer Analysis,
Grandmaster Flash,
Nirvana,
Faust,
Black Moon,
Liliput,
Strawberry Alarm Clock,
Black Sheep,
the Germs,
Mad Mike,
John Holt,
Marc Romboy vs. Booka Shade,
Camberwell Now,
Tears for Fears,
Scott Walker,
Red Lorry Yellow Lorry,
Althea and Donna,
Nik Kershaw,
Avey Tare,
Kool G Rap & DJ Polo,
Danielle Patucci,
Terror Squad Feat. Camron,
Saccharine Trust,
Agent Orange,
Reagan Youth,
8 Eyed Spy,
U.S. Maple,
Moby Grape,
London Community Gospel Choir,
Nas,
Moss Icon,
Joe Finger,
Cheater Slicks,
Johnny Clarke,
The Doobie Brothers,
the Swans,
Public Image Ltd.,
Kauko Röyhkä ja Narttu,
Jeff Mills,
The Evens,
Ronnie Foster, Ronnie Foster, Ronnie Foster, Ronnie Foster.
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.