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 Uzbekistan and from Jakarta.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1973.
I'm losing my edge.
To all the kids in Portland and Winnipeg.
I'm losing my edge to the art-school Manchester 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 linndrum sounds with much patience.
I was there when Donald Fagen 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 Jawbox to the rap 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 Oneida. All the underground hits.
All PIL tracks. I heard you have a vinyl of every Crispy Ambulance 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 '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Section 25 record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
Ajijia Myrayebe,
Black Moon,
The Doors,
the Association,
Althea and Donna,
Hashim,
The Offenders,
Blancmange,
Orchestral Manoeuvres in the Dark,
Country Joe & The Fish,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Liaisons Dangereuses,
The Black Dice,
David Axelrod,
The Move,
Sly & The Family Stone,
Parry Music,
Swell Maps,
The Wake,
Carl Craig,
Ken Boothe,
Mad Mike,
Tres Demented,
Sarah Menescal,
Inner City,
Richard Hell and the Voidoids,
The Birthday Party,
Moby Grape,
Nation of Ulysses,
Dead Boys,
Al Stewart,
The Pretty Things,
Colin Newman,
Yellowson,
Country Teasers,
Art Ensemble Of Chicago,
The Barracudas,
Japan,
The Peanut Butter Conspiracy,
Marshall Jefferson,
Alphaville,
Yazoo,
Grauzone,
Erasure,
Fat Boys,
Quadrant,
Cybotron,
The Moleskins,
Mary Jane Girls,
The Busters,
Avey Tare & Kría Brekkan,
One Last Wish,
Average White Band,
Das Ding,
Pere Ubu,
The Sisters of Mercy,
Lucky Dragons,
The Count Five,
Ultravox,
Strawberry Alarm Clock,
Outsiders,
The Electric Prunes, The Electric Prunes, The Electric Prunes, The Electric Prunes.
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.