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 Benin and from Mexico City.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Madrid and Copenhagen.
I'm losing my edge to the art-school Taipei 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 synthesizer 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 Soul Sonic Force to the jazz kids.
I played it at the Spitz.
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 The Evens. All the underground hits.
All Flipper tracks. I heard you have a vinyl of every Lou Christie 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 '70s 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 Tomorrow record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed,
Nick Cave & The Bad Seeds,
Section 25,
Junior Murvin,
Grey Daturas,
Chrome,
Blossom Toes,
Saccharine Trust,
John Coltrane,
The Music Machine,
The Names,
The Stooges,
Bobby Hutcherson,
Audionom,
Delon & Dalcan,
Howard Jones,
Quando Quango,
Wighnomy Brothers & Robag Wruhme,
Lyres,
Black Sheep,
Popol Vuh,
Fear,
Zero Boys,
The West Coast Pop Art Experimental Band,
Godley & Creme,
Thee Headcoats,
Gil Scott Heron,
The Evens,
Sly & The Family Stone,
Hot Snakes,
Mark Hollis,
Big Daddy Kane,
Marshall Jefferson,
The Slits,
The Smiths,
Ten City,
The Gladiators,
Bush Tetras,
The Seeds,
Warsaw,
The Sisters of Mercy,
Eli Mardock,
Index,
JFA,
Suburban Knight,
Sex Pistols,
Super Lover Cee & Casanova Rud,
Masters at Work,
Carl Craig,
Morten Harket,
U.S. Maple,
Country Joe & The Fish,
Wally Richardson,
Livin' Joy,
Visage,
Fifty Foot Hose,
Pulsallama,
The Cramps,
Little Man, Little Man, Little Man, Little Man.
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.