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 Swaziland and from Portland.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Shanghai.
I'm losing my edge to the art-school Lyon 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 synthesizer 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 Mo-Dettes to the rock kids.
I played it at the 40 Watt.
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 Derrick Morgan. All the underground hits.
All Nation of Ulysses tracks. I heard you have a vinyl of every Goldenarms record on German import.
I heard that you have a white label of every seminal dance 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 güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Art Ensemble Of Chicago,
Sound Behaviour,
Alison Limerick,
The Birthday Party,
Curtis Mayfield,
Albert Ayler,
Essential Logic,
The Five Americans,
James Chance & The Contortions,
Ten City,
Oneida,
The Pop Group,
One Last Wish,
Swell Maps,
Infiniti,
Maleditus Sound,
Sun Ra,
Metal Thangz,
Boz Scaggs,
E-Dancer,
Rhythm & Sound,
Joyce Sims,
Mantronix,
The Mighty Diamonds,
Lower 48,
Minny Pops,
Brass Construction,
The Peanut Butter Conspiracy,
Desert Stars,
Louis and Bebe Barron,
Alton Ellis,
Circle Jerks,
Supertramp,
The Cosmic Jokers,
The Busters,
Icehouse,
Thompson Twins,
Lee Hazlewood,
Hot Snakes,
Moss Icon,
U.S. Maple,
Visage,
The Selecter,
Vladislav Delay,
Inner City,
Chris Corsano,
Sam Rivers,
Bang on a Can All-Stars,
Kaleidoscope,
Quando Quango,
The Moody Blues,
Heaven 17,
Basic Channel,
T. Rex,
The Men They Couldn't Hang,
Groovy Waters,
Whodini,
Los Fastidios,
David McCallum,
The Smoke,
Thee Headcoats,
Joy Division,
Barry Ungar, Barry Ungar, Barry Ungar, Barry Ungar.
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.