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 France and from Philadelphia.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Mexico City and Bremen.
I'm losing my edge to the art-school New York 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 guitar sounds with much patience.
I was there when Nile Rodgers 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 Girls At Our Best! to the disco 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 Minutemen. All the underground hits.
All Grauzone tracks. I heard you have a vinyl of every The Dirtbombs record on German import.
I heard that you have a white label of every seminal grime 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 an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wolf Eyes,
The American Breed,
One Last Wish,
The Chocolate Watch Band,
Severed Heads,
Funky Four + One,
Mo-Dettes,
Magma,
Gang Gang Dance,
Unwound,
Loose Ends,
Roxy Music,
DNA,
The Beau Brummels,
Röyhkä ja Rättö ja Lehtisalo,
Wire,
De La Soul & Jungle Brothers,
Rufus Thomas,
Intrusion,
Orchestral Manoeuvres in the Dark,
Pharaoh Sanders and the Fire Engines,
Janne Schatter,
Pagans,
Hoover,
The Dirtbombs,
Steve Hackett,
Marc Almond,
X-Ray Spex,
Icehouse,
FM Einheit,
Tommy Roe,
Organ,
Radiohead,
Mad Mike,
Altered Images,
The Moody Blues,
Jawbox,
Black Pus,
World's Most,
Terry Callier,
The Pretty Things,
Henry Cow,
These Immortal Souls,
Skaos,
The Trojans,
Dorothy Ashby,
DeepChord presents Echospace,
Andrew Hill,
Shuggie Otis,
Swell Maps,
Charles Mingus,
The Remains,
Lizzy Mercier Descloux,
Roy Ayers,
Ultramagnetic MC's,
The Evens,
KRS-One,
Joyce Sims,
Subhumans,
Gil Scott Heron,
Black Bananas,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.