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 Morocco and from Spokane.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Manchester and Seoul.
I'm losing my edge to the art-school Paris 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 1973 at the first Television practice in a loft in New York.
I was working on the clarinet 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 Pole to the grime kids.
I played it at the Crocodile.
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 The Fuzztones. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Gian Franco Pienzio 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 '50s cut and another box set from the '70s.
I hear you're buying an oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Monks record.
I hear that you and your band have sold your oboe and bought a theremin.
I hear that you and your band have sold your theremin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Hood,
Althea and Donna,
Country Teasers,
Swell Maps,
Peter and Kerry,
Stereo Dub,
Gary Puckett & The Union Gap,
Art Ensemble Of Chicago,
Technova,
Quando Quango,
The Standells,
June Days,
Scott Walker,
The Mojo Men,
Flamin' Groovies,
Absolute Body Control,
Sarah Menescal,
Alice Coltrane,
John Holt,
World's Most,
The Slits,
Nation of Ulysses,
The Electric Prunes,
Mantronix,
Laurel Aitken,
Matthew Halsall,
Jeff Mills,
Visage,
The Invisible,
James White and The Blacks,
Soft Cell,
ABBA,
Rowland S Howard / Lydia Lunch,
Marine Girls,
The Fire Engines,
Aloha Tigers,
Wighnomy Brothers & Robag Wruhme,
Sällskapet,
Camberwell Now,
Tubeway Army,
The Shadows of Knight,
Chrome,
D'Angelo,
Rahsaan Roland Kirk,
The Modern Lovers,
Sly & The Family Stone,
The Index,
New York Dolls,
Joe Finger,
Depeche Mode,
Bad Manners,
Second Layer,
Siglo XX,
Lou Reed & Metallica,
Oblivians,
Black Sheep,
Dennis Brown,
Essential Logic,
Public Image Ltd.,
Suicide,
Susan Cadogan,
Shuggie Otis,
The Gap Band,
The Alarm Clocks,
Interpol, Interpol, Interpol, Interpol.
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.