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 Poland and from Stockholm.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Philadelphia and Toronto.
I'm losing my edge to the art-school Manchester 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 chamberlin 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 Subhumans to the disco 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 Vladislav Delay. All the underground hits.
All ABBA tracks. I heard you have a vinyl of every Procol Harum record on German import.
I heard that you have a white label of every seminal techno 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 linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Marvin Gaye record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Copeland,
Reagan Youth,
Pantaleimon,
The Martian,
Dorothy Ashby,
Funkadelic,
X-101,
the Bar-Kays,
Zero Boys,
The Evens,
Ronan,
Pet Shop Boys,
Livin' Joy,
The Smiths,
EPMD,
Sun Ra Arkestra,
Pete Rock & C.L. Smooth,
FM Einheit,
Hasil Adkins,
Sight & Sound,
Reuben Wilson,
Gichy Dan,
Rites of Spring,
Thinking Fellers Union Local 282,
The Techniques,
Kerrie Biddell,
Lee Hazlewood,
Mr. Review,
The United States of America,
Subhumans,
Lightning Bolt,
Fluxion,
John Coltrane,
Eli Mardock,
The Dirtbombs,
Big Daddy Kane,
Captain Beefheart & His Magic Band,
Scrapy,
Swans,
Graham Central Station,
Brick,
New Age Steppers,
Essential Logic,
Man Eating Sloth,
Black Bananas,
Althea and Donna,
Sugar Minott,
Gang Green,
Josef K,
the Association,
This Heat,
New York Dolls,
The J.B.'s,
The Fall,
These Immortal Souls,
The Remains,
Marc Almond,
Lalo Schifrin,
Mo-Dettes,
The Real Kids,
Radiopuhelimet,
Parry Music,
The Raincoats, The Raincoats, The Raincoats, The Raincoats.
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.