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 Kenya 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 1966 to 1974.
I'm losing my edge.
To all the kids in Salvador and Edmonton.
I'm losing my edge to the art-school Paris 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 1987 at the first Nirvana practice in a loft in Seattle.
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 Joyce Sims to the rock kids.
I played it at the Crocodile.
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 Cluster. All the underground hits.
All Maleditus Sound tracks. I heard you have a vinyl of every The Blues Magoos 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 '70s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Fall 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?
Funkadelic,
Yellowson,
Jandek,
Radiohead,
Ultra Naté,
Unwound,
Zapp,
Nils Olav,
Susan Cadogan,
Wire,
Fat Boys,
The West Coast Pop Art Experimental Band,
Bobby Hutcherson,
Eve St. Jones,
Juan Atkins,
Adolescents,
One Last Wish,
the Germs,
AZ,
Spandau Ballet,
Cameo,
Todd Terry,
Roxy Music,
Howard Jones,
Hot Snakes,
Model 500,
Röyhkä ja Rättö ja Lehtisalo,
Urselle,
Ash Ra Tempel,
Organ,
Mission of Burma,
Scratch Acid,
John Lydon,
Marc Almond,
Gil Scott-Heron and Jamie xx,
Jeff Mills,
The Men They Couldn't Hang,
Notorious Big And Bone Thugs,
Smog,
Freddie Wadling,
The Fuzztones,
E-Dancer,
Reuben Wilson,
The Smiths,
Moss Icon,
Pierre Henry,
The Fall,
Con Funk Shun,
Alice Coltrane,
the Normal,
Sound Behaviour,
the Slits,
Average White Band,
Whodini,
Crooked Eye,
The Slits,
Pharoah Sanders,
Joey Negro,
Anakelly,
The Beau Brummels,
Scan 7,
Darondo,
De La Soul & Jungle Brothers,
Essential Logic, Essential Logic, Essential Logic, Essential Logic.
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.