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 Monaco and from Salvador.
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 1963 to 1971.
I'm losing my edge.
To all the kids in New York and Lyon.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the mellotron 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 Banda Bassotti to the techno kids.
I played it at the Troubador.
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 Basic Channel. All the underground hits.
All Country Joe & The Fish tracks. I heard you have a vinyl of every Lou Reed 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 '70s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear that you and your band have sold your guitar 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?
Subhumans,
Marmalade,
Whodini,
Andrew Ashong & Theo Parrish,
Drexciya,
Kerri Chandler,
DJ Style,
Kool G Rap & DJ Polo,
Grandmaster Flash,
Gerry Rafferty,
Wire,
The Barracudas,
The Detroit Cobras,
The Angels of Light,
Lalo Schifrin,
John Coltrane,
Amon Düül II,
Adolescents,
PIL,
Ten City,
Sam Rivers,
Arab on Radar,
L. Decosne,
ABBA,
Funkadelic,
Blancmange,
Glenn Branca,
a-ha,
Joe Smooth,
Masters at Work,
Nik Kershaw,
T. Rex,
The Skatalites,
Eric B and Rakim,
Brick,
Royal Trux,
Minnie Riperton,
Heaven 17,
Crash Course in Science,
The Invisible,
Josef K,
Stereo Dub,
Black Sheep,
Infiniti,
Sticky Fingaz feat. Raekwon,
The Fortunes,
The Victims,
Sällskapet,
Dual Sessions,
T.S.O.L.,
Lightning Bolt,
The Saints,
The Slits,
The Durutti Column,
One Last Wish,
the Soft Cell,
Jimmy McGriff,
The Zeros,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
David Axelrod, David Axelrod, David Axelrod, David Axelrod.
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.