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 Tajikistan and from Stockholm.
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 1976.
I'm losing my edge.
To all the kids in Lille and Beijing.
I'm losing my edge to the art-school Salvador 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the harpsichord 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 X-102 to the dance kids.
I played it at the Astoria.
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 Rapeman. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every Ultravox 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 '80s.
I hear you're buying a guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ossler,
Connie Case,
The Doobie Brothers,
Chris Corsano,
Barry Ungar,
Grandmaster Flash,
Gabor Szabo,
Negative Approach,
The Gories,
Kurtis Blow,
Rod Modell,
Dead Boys,
The Pretty Things,
Fatback Band,
the Association,
Fugazi,
Marshall Jefferson,
Alton Ellis,
Royal Trux,
Audionom,
The United States of America,
Todd Terry,
Trumans Water,
Davy DMX,
The Gap Band,
Sonic Youth,
Kayak,
Eli Mardock,
Deadbeat,
Porter Ricks,
Public Enemy,
Amon Düül,
Be Bop Deluxe,
Country Joe & The Fish,
Lonnie Liston Smith,
Matthew Bourne,
The Cowsills,
The Wake,
DNA,
Dual Sessions,
Black Bananas,
Sun Ra,
Joey Negro,
Sex Pistols,
Rites of Spring,
The Black Dice,
Erasure,
Al Stewart,
The Alarm Clocks,
Lou Reed & Metallica,
Rhythm & Sound,
Gichy Dan,
Sarah Menescal,
Vladislav Delay,
Oppenheimer Analysis,
Niagra,
Skaos,
Parry Music,
Swans,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Susan Cadogan,
The Monks,
Althea and Donna,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.