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 Ghana and from Hong Kong.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Manchester and Paris.
I'm losing my edge to the art-school Philadelphia 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 World's Most to the funk kids.
I played it at CBGB's.
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 Ralphi Rosario. All the underground hits.
All Harmonia tracks. I heard you have a vinyl of every London Community Gospel Choir 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 '90s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Young Marble Giants record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
The Monks,
Lalo Schifrin,
Deadbeat,
Pharoah Sanders,
Guru Guru,
Roxy Music,
Mars,
The Peanut Butter Conspiracy,
Kerri Chandler,
The Dave Clark Five,
Howard Jones,
Das Ding,
Agitation Free,
Donny Hathaway,
Pagans,
Michelle Simonal,
Qualms,
The Sonics,
The Sound,
Brick,
Vainqueur,
Lou Reed & John Cale,
Royal Trux,
Boogie Down Productions,
Kool G Rap & DJ Polo,
The Skatalites,
The Cowsills,
Glenn Branca,
The Doors,
Mo-Dettes,
Yaz,
Archie Shepp,
Minny Pops,
Nils Olav,
Dennis Brown,
The West Coast Pop Art Experimental Band,
Freddie Wadling,
Erasure,
Fifty Foot Hose,
Grey Daturas,
The Names,
Joensuu 1685,
Eddi Front,
The Blues Magoos,
Mandrill,
Arthur Verocai,
Crooked Eye,
JFA,
Skaos,
The Birthday Party,
Danielle Patucci,
ABBA,
Susan Cadogan,
Laurel Aitken,
Wings,
The Human League,
Eve St. Jones,
Spandau Ballet,
kango's stein massive,
The Cosmic Jokers,
Jandek,
Au Pairs,
Girls At Our Best!,
The Gun Club, The Gun Club, The Gun Club, The Gun Club.
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.