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 Mali and from Lagos.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Seoul and Tokyo.
I'm losing my edge to the art-school Woodstock 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the guitar sounds with much patience.
I was there when Michael McDonald 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 Stiv Bators to the jazz kids.
I played it at the Astoria.
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 Fort Wilson Riot. All the underground hits.
All Judy Mowatt tracks. I heard you have a vinyl of every Swans record on German import.
I heard that you have a white label of every seminal disco 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 synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Men They Couldn't Hang record.
I hear that you and your band have sold your organ and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alice Coltrane,
Soulsonic Force,
E-Dancer,
Parry Music,
Derrick Morgan,
Slave,
R.M.O.,
Kool G Rap & DJ Polo,
Crispy Ambulance,
Gian Franco Pienzio,
Jeff Mills,
Gil Scott-Heron & Brian Jackson,
Unwound,
Colin Newman,
Goldenarms,
The Associates,
cv313,
Avey Tare's Slasher Flicks,
Bobby Womack,
Bill Near,
Young Marble Giants,
ABC,
Intrusion,
Whodini,
Lou Reed & John Cale,
Theoretical Girls,
The Names,
Tres Demented,
Neu!,
David Bowie,
Mantronix,
The Toasters,
The Beau Brummels,
Strawberry Alarm Clock,
Michelle Simonal,
Lower 48,
Grandmaster Flash and the Furious Five,
John Lydon,
Archie Shepp,
The Gap Band,
Bronski Beat,
Sparks,
Mandrill,
La Düsseldorf,
Model 500,
John Coltrane,
Agent Orange,
Larry & the Blue Notes,
Fort Wilson Riot,
Second Layer,
Henry Cow,
Josef K,
Max Romeo,
Albert Ayler,
Pantaleimon,
Bobby Sherman,
The Cowsills,
The Star Department,
Liliput,
Echospace,
The Dave Clark Five,
Juan Atkins,
Davy DMX,
Tom Boy, Tom Boy, Tom Boy, Tom Boy.
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.