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 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 1961 to 1975.
I'm losing my edge.
To all the kids in Spokane and Houston.
I'm losing my edge to the art-school Seoul 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the güiro 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 Deepchord to the dance kids.
I played it at CBGB's.
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 Hot Snakes. All the underground hits.
All CMW tracks. I heard you have a vinyl of every Erasure 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 '80s cut and another box set from the '70s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Faust record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hasil Adkins,
8 Eyed Spy,
Young Marble Giants,
The Doors,
A Flock of Seagulls,
Rotary Connection,
MDC,
the Normal,
the Slits,
Louis and Bebe Barron,
The Five Americans,
Neu!,
Stockholm Monsters,
Toni Rubio,
Bobby Byrd,
Wighnomy Brothers & Robag Wruhme,
The Leaves,
The Move,
Don Cherry,
Wolf Eyes,
Richard Hell and the Voidoids,
Eric Copeland,
L. Decosne,
Mission of Burma,
Dead Boys,
The Dirtbombs,
Boz Scaggs,
Pagans,
Gichy Dan,
Amon Düül II,
Bootsy Collins,
Circle Jerks,
Iggy Pop,
Easy Going,
Kurtis Blow,
The Smoke,
Siouxsie and the Banshees,
Avey Tare & Kría Brekkan,
Motorama,
OOIOO,
Cymande,
Yellowson,
Slick Rick,
The Jesus and Mary Chain,
Brass Construction,
The Cosmic Jokers,
Glenn Branca,
10cc,
Barry Ungar,
James Chance & The Contortions,
Khruangbin,
Peter & Gordon,
Be Bop Deluxe,
Aswad,
The New Christs,
Roy Ayers Ubiquity,
H. Thieme,
New York Dolls,
Flipper,
Unwound, Unwound, Unwound, Unwound.
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.