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 Gabon and from Jakarta.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Spokane and Lyon.
I'm losing my edge to the art-school Bremen 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 oboe sounds with much patience.
I was there when Michael McDonald 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 David McCallum to the crunk 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 Gang of Four. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every Warren Ellis record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Second Layer record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
Smog,
Andrew Ashong & Theo Parrish,
Mandrill,
Dead Boys,
Echospace,
Terror Squad Feat. Camron,
Unwound,
The Golliwogs,
Nik Kershaw,
the Fania All-Stars,
The Wake,
Bobby Womack,
KRS-One,
Scott Walker,
Quando Quango,
Surgeon,
Roy Ayers Ubiquity,
Lonnie Liston Smith,
Jesper Dahlbäck,
Terrestrial Tones,
Sonic Youth,
cv313,
The Last Poets,
The Fall,
Steve Hackett,
Crispian St. Peters,
Wire,
Connie Case,
Shoche,
Be Bop Deluxe,
Make Up,
Black Sheep,
Jesper Dahlback,
China Crisis,
The Knickerbockers,
Tommy Roe,
The Remains,
The Fugs,
Liliput,
Icehouse,
Aloha Tigers,
Brand Nubian,
Letta Mbulu,
Notorious Big And Bone Thugs,
Anthony Braxton,
James Chance & The Contortions,
Al Stewart,
Skriet,
Ituana,
Peter and Kerry,
New York Dolls,
Ajijia Myrayebe,
The Residents,
Morten Harket,
Iggy Pop,
Flash Fearless,
Marine Girls,
Gabor Szabo,
Accadde A,
Wally Richardson,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.