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 Mozambique and from Delhi.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Madrid and Toronto.
I'm losing my edge to the art-school Madrid 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the guitar 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 Liliput to the disco kids.
I played it at the Roxy.
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 Mo-Dettes. All the underground hits.
All Swans tracks. I heard you have a vinyl of every Organ record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s 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 The Sisters of Mercy record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flamin' Groovies,
Little Man,
Pulsallama,
The Wake,
Underground Resistance,
Amazonics,
Animal Collective,
One Last Wish,
Thee Headcoats,
Pole,
Young Marble Giants,
Mission of Burma,
Y Pants,
E-Dancer,
Bobby Hutcherson,
Amon Düül,
Chris & Cosey,
The Detroit Cobras,
Notorious Big And Bone Thugs,
Icehouse,
Grandmaster Flash and the Furious Five,
Reuben Wilson,
Boz Scaggs,
Rotary Connection,
Negative Approach,
Unwound,
Neil Young,
Newcleus,
Monolake,
Essential Logic,
T.S.O.L.,
The Fortunes,
Roxette,
Avey Tare & Kría Brekkan,
Dead Boys,
Scion,
The Chocolate Watch Band,
Lou Reed & John Cale,
Gabor Szabo,
Spoonie Gee,
Masters at Work,
The West Coast Pop Art Experimental Band,
Bobby Byrd,
Lizzy Mercier Descloux,
The Men They Couldn't Hang,
Joe Finger,
Radio Birdman,
Qualms,
Rhythim Is Rhythim,
The Sound,
These Immortal Souls,
Ajijia Myrayebe,
June Days,
The Walker Brothers,
Lee Hazlewood,
Unrelated Segments,
The American Breed,
Television,
Altered Images,
Jesper Dahlback,
Loose Ends,
D'Angelo,
Donald Byrd,
Nas, Nas, Nas, Nas.
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.