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 Nicaragua and from Lagos.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Paris.
I'm losing my edge to the art-school Jakarta 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 marimba sounds with much patience.
I was there when Donald Fagen 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 Rhythm & Sound to the electroclash 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 Flesh Eaters. All the underground hits.
All MC5 tracks. I heard you have a vinyl of every The Cure 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 '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Davy DMX,
The Jesus and Mary Chain,
Excepter,
Neu!,
Radiopuhelimet,
Angry Samoans,
Television Personalities,
Bill Near,
Glenn Branca,
Jandek,
The Remains,
Girls At Our Best!,
Japan,
Pussy Galore,
PIL,
Art Ensemble Of Chicago,
Lizzy Mercier Descloux,
The Slits,
Avey Tare & Kría Brekkan,
Dead Boys,
Teenage Jesus and the Jerks,
Camberwell Now,
The Gories,
Cecil Taylor,
John Holt,
Lonnie Liston Smith,
The Velvet Underground,
Urselle,
The Cramps,
Super Lover Cee & Casanova Rud,
The Beau Brummels,
Clear Light,
Bang On A Can,
MC5,
Franke,
X-101,
Thompson Twins,
the Association,
Janne Schatter,
Ash Ra Tempel,
Rahsaan Roland Kirk,
The Mighty Diamonds,
The Tremeloes,
Animal Collective,
Minutemen,
Reuben Wilson,
Con Funk Shun,
Red Lorry Yellow Lorry,
Bobby Byrd,
Young Marble Giants,
Ituana,
The Pretty Things,
It's A Beautiful Day,
Motorama,
La Düsseldorf,
The Red Krayola,
Black Bananas,
Dual Sessions,
Audionom, Audionom, Audionom, Audionom.
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.