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 Niger and from Cairo.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Cairo and New York.
I'm losing my edge to the art-school Beijing 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 Alice Coltrane to the dance kids.
I played it at the 40 Watt.
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 Donald Byrd. All the underground hits.
All The Fire Engines tracks. I heard you have a vinyl of every Bill Near record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Pantaleimon record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxy Music,
The Saints,
Interpol,
Parry Music,
Eyeless In Gaza,
Ornette Coleman,
The New Christs,
Gerry Rafferty,
Andrew Hill,
Pierre Henry,
Johnny Osbourne,
Fear,
The Blackbyrds,
the Soft Cell,
Section 25,
Spoonie Gee,
Swans,
Max Romeo,
The Velvet Underground,
Kurtis Blow,
FM Einheit,
L. Decosne,
The Gladiators,
Rufus Thomas,
Kenny Larkin,
The Evens,
Blake Baxter,
Quadrant,
Patti Smith,
Bobby Sherman,
Black Bananas,
Urselle,
Aaron Thompson,
Unwound,
Alton Ellis,
Avey Tare's Slasher Flicks,
Cheater Slicks,
Yusef Lateef,
Amazonics,
Maurizio,
Gong,
Electric Prunes,
Stetsasonic,
Infiniti,
The Associates,
Ludus,
Unrelated Segments,
Index,
Archie Shepp,
Toni Rubio,
Nirvana,
D'Angelo,
Crime,
Skriet,
Teenage Jesus and the Jerks,
The Cramps,
Alison Limerick,
Suburban Knight,
Crooked Eye,
Johnny Clarke,
Crispy Ambulance,
The Fall,
Scan 7,
Isaac Hayes,
Sparks, Sparks, Sparks, Sparks.
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.