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 Tunisia and from Bremen.
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 1972.
I'm losing my edge.
To all the kids in Manila and Johannesburg.
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 1973 at the first Television practice in a loft in New York.
I was working on the theremin sounds with much patience.
I was there when David Bowie 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 Barclay James Harvest to the rock kids.
I played it at the Hacienda.
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 Charles Mingus. All the underground hits.
All Cymande tracks. I heard you have a vinyl of every Colin Newman record on German import.
I heard that you have a white label of every seminal grunge 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 chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Little Man record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
Black Bananas,
The Seeds,
The New Christs,
Soul II Soul,
Ituana,
The Jesus and Mary Chain,
Jandek,
Das Ding,
Selector Dub Narcotic,
Alice Coltrane,
Henry Cow,
B.T. Express,
Eli Mardock,
Rites of Spring,
Bizarre Inc.,
Jesper Dahlbäck,
The Standells,
Cameo,
Fatback Band,
Laurel Aitken,
Davy DMX,
Scrapy,
Crispy Ambulance,
Kerri Chandler,
The Doors,
Ornette Coleman,
Gichy Dan,
Big Daddy Kane,
Lou Reed & John Cale,
The Mighty Diamonds,
Joyce Sims,
Bootsy's Rubber Band,
James Chance & The Contortions,
Harpers Bizarre,
DJ Sneak,
The Gladiators,
Lalann,
Altered Images,
Au Pairs,
Jacques Brel,
Angry Samoans,
The Count Five,
8 Eyed Spy,
Terrestrial Tones,
Sam Rivers,
The Monochrome Set,
Echo & the Bunnymen,
Hashim,
China Crisis,
The Dirtbombs,
Boogie Down Productions,
The Remains,
Fugazi,
The Knickerbockers,
The Royal Family And The Poor,
Q and Not U,
Sly & The Family Stone,
John Holt,
Jeff Mills,
Animal Collective,
Inner City, Inner City, Inner City, Inner City.
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.