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 Liberia and from Mumbai.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Seoul and Accra.
I'm losing my edge to the art-school Stockholm 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the marimba 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 Visage to the punk 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 Amon Düül II. All the underground hits.
All Manfred Mann's Earth Band tracks. I heard you have a vinyl of every Stockholm Monsters 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 '80s.
I hear you're buying a spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Teenage Jesus and the Jerks record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Urselle,
Swell Maps,
Lightning Bolt,
Kerrie Biddell,
Albert Ayler,
Television,
The Blues Magoos,
Anthony Braxton,
Aural Exciters,
Pulsallama,
Dual Sessions,
Marshall Jefferson,
Pagans,
Surgeon,
Jerry's Kids,
Scott Walker,
Gregory Isaacs,
Minnie Riperton,
Tom Boy,
Davy DMX,
Gian Franco Pienzio,
Fat Boys,
Sonic Youth,
Newcleus,
Lou Reed & Metallica,
Lafayette Afro Rock Band,
Icehouse,
Mandrill,
Sly & The Family Stone,
Quadrant,
Duran Duran,
Flash Fearless,
R.M.O.,
The Mojo Men,
Mary Jane Girls,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Cowsills,
K-Klass,
Neu!,
X-Ray Spex,
Sex Pistols,
The Techniques,
cv313,
Red Lorry Yellow Lorry,
Jeru the Damaja,
Teenage Jesus and the Jerks,
Ludus,
World's Most,
John Cale,
Kevin Saunderson,
Bauhaus,
Jerry Gold Smith,
Glenn Branca,
The Barracudas,
The Moody Blues,
Hashim,
Oppenheimer Analysis,
Swans,
The Skatalites,
Second Layer, Second Layer, Second Layer, Second Layer.
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.