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 Dominican Republic and from Edmonton.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Tehran and Toronto.
I'm losing my edge to the art-school Mumbai 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 güiro sounds with much patience.
I was there when Holger Czukay 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 Gerry Rafferty to the dance 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 Robert Görl. All the underground hits.
All Dead Boys tracks. I heard you have a vinyl of every The Sisters of Mercy 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 '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Cluster record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
La Düsseldorf,
Sparks,
Pussy Galore,
Max Romeo,
Flipper,
the Normal,
Marmalade,
Ken Boothe,
Bobby Sherman,
Dave Gahan,
Deepchord,
Au Pairs,
Pierre Henry,
Masters at Work,
Piero Umiliani,
Funkadelic,
Make Up,
the Bar-Kays,
The Star Department,
Swell Maps,
Reuben Wilson,
Notorious BIG live in Amsterdam,
Nas,
Minnie Riperton,
Andrew Hill,
The Grass Roots,
Scratch Acid,
Chrome,
Thinking Fellers Union Local 282,
Funky Four + One,
Scott Walker,
Anthony Braxton,
Boogie Down Productions,
The Motions,
R.M.O.,
The Martian,
The Dirtbombs,
Swans,
Main Source,
Organ,
The Black Dice,
The Smoke,
E-Dancer,
The United States of America,
Fluxion,
Mars,
Popol Vuh,
The Happenings,
Beasts of Bourbon,
Scott Walker + Sunn O))),
Ludus,
The Walker Brothers,
F. McDonald,
Tommy Roe,
The Dave Clark Five,
Sonic Youth,
Matthew Halsall,
The Knickerbockers,
Albert Ayler,
Gang Starr,
Tropical Tobacco,
The American Breed,
Captain Beefheart & His Magic Band,
John Holt, John Holt, John Holt, John Holt.
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.