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 Russia and from Taipei.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Mumbai.
I'm losing my edge to the art-school Copenhagen 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 Lou Reed 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 Severed Heads to the electroclash 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 Mandrill. All the underground hits.
All H. Thieme tracks. I heard you have a vinyl of every Khruangbin 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 an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a CMW record.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Near,
OOIOO,
Cymande,
Jacob Miller,
Cybotron,
Brick,
The Blackbyrds,
Danielle Patucci,
Dual Sessions,
The Raincoats,
Country Teasers,
Theoretical Girls,
Rhythim Is Rhythim,
Alphaville,
Lyres,
Davy DMX,
In Retrospect,
Be Bop Deluxe,
DJ Sneak,
Kayak,
Excepter,
Mark Hollis,
Ken Boothe,
Stetsasonic,
Nirvana,
Inner City,
Roxy Music,
Matthew Bourne,
Swell Maps,
June Days,
PIL,
Flipper,
Matthew Halsall,
Roger Hodgson,
Bang on a Can All-Stars,
The Smiths,
Marc Almond,
The Techniques,
Jeru the Damaja,
Organ,
The Knickerbockers,
James Chance & The Contortions,
Joensuu 1685,
Zapp,
T.S.O.L.,
Fugazi,
Idris Muhammad,
Crispian St. Peters,
Barry Ungar,
Groovy Waters,
X-101,
Soft Machine,
The New Christs,
David Axelrod,
Schoolly D,
Roxette,
Larry & the Blue Notes,
Wire,
Blancmange,
The Remains,
Mars, Mars, Mars, Mars.
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.