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 Brunei and from Tehran.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Bologna and Edmonton.
I'm losing my edge to the art-school Philadelphia 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 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 Ultimate Spinach to the techno kids.
I played it at the Troubador.
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 Maurizio. All the underground hits.
All Surgeon tracks. I heard you have a vinyl of every Kaleidoscope record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Red Lorry Yellow Lorry record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Fluxion,
Minnie Riperton,
Mo-Dettes,
Davy DMX,
Notorious BIG live in Amsterdam,
DNA,
Pere Ubu,
Tim Buckley,
The Fire Engines,
Tommy Roe,
The Music Machine,
D'Angelo,
Television,
Quantec,
Bob Dylan,
Ultramagnetic MC's,
Japan,
Avey Tare's Slasher Flicks,
Rakim,
Niagra,
The Neon Judgement,
The Techniques,
Todd Terry,
Darondo,
Malaria!,
Soul II Soul,
Louis and Bebe Barron,
The Cramps,
Public Enemy,
Traffic Nightmare,
The Stooges,
Iggy Pop,
Nik Kershaw,
Buzzcocks,
Los Fastidios,
Sister Nancy,
The Electric Prunes,
Jandek,
Symarip,
Kool G Rap & DJ Polo,
June Days,
The Blues Magoos,
Lower 48,
Super Lover Cee & Casanova Rud,
Fad Gadget,
The Dead C,
Vladislav Delay,
the Fania All-Stars,
Kauko Röyhkä ja Narttu,
The Gap Band,
Masters at Work,
Organ,
Janne Schatter,
kango's stein massive,
Lou Reed,
Donald Byrd,
The Evens,
Matthew Halsall,
The Dirtbombs, The Dirtbombs, The Dirtbombs, The Dirtbombs.
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.