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 Germany and from Taipei.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Spokane and Columbus.
I'm losing my edge to the art-school Stockholm 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 clarinet sounds with much patience.
I was there when David Bowie 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 Brothers Johnson to the electroclash 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 Sunsets and Hearts. All the underground hits.
All Wire tracks. I heard you have a vinyl of every Yusef Lateef record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantytec,
Tommy Roe,
Captain Beefheart & His Magic Band,
Urselle,
Masters at Work,
Camouflage,
Malaria!,
Jesper Dahlback,
cv313,
The Victims,
T.S.O.L.,
Patti Smith,
Pet Shop Boys,
Grandmaster Flash,
Wasted Youth,
Crispy Ambulance,
Freddie Wadling,
Agitation Free,
Gian Franco Pienzio,
The Trojans,
John Coltrane,
Marshall Jefferson,
the Bar-Kays,
Amon Düül II,
Sällskapet,
8 Eyed Spy,
The Count Five,
Vainqueur,
Bronski Beat,
Wolf Eyes,
Supertramp,
Index,
Terrestrial Tones,
Robert Wyatt,
The Dead C,
Avey Tare,
The Monochrome Set,
DJ Style,
The Chocolate Watch Band,
Public Enemy,
Mo-Dettes,
Bob Dylan,
Siouxsie and the Banshees,
Prince Buster,
Suicide,
Kurtis Blow,
Slave,
The Move,
the Sonics,
Bill Near,
Boredoms,
JFA,
Au Pairs,
Michelle Simonal,
Sam Rivers,
the Swans,
Mary Jane Girls,
New Age Steppers,
Byron Stingily,
Stetsasonic,
The United States of America,
Fluxion,
Terror Squad Feat. Camron,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.