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 South Sudan and from Beijing.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Paris and Bologna.
I'm losing my edge to the art-school Lyon 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 organ 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 The Blackbyrds to the funk 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 Neil Young & Crazy Horse. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every Rhythm & Sound 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 '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Lindisfarne record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Grass Roots,
Khruangbin,
Crime,
Liaisons Dangereuses,
Fatback Band,
Marmalade,
Amazonics,
Ultravox,
the Slits,
Masters at Work,
a-ha,
The Busters,
Technova,
The Pop Group,
Ohio Players,
Erykah Badu,
Siouxsie and the Banshees,
48th St. Collective,
Eric Dolphy,
Graham Central Station,
CMW,
Bobby Womack,
The Velvet Underground,
Leonard Cohen,
Soft Machine,
Soft Cell,
Unrelated Segments,
Terror Squad Feat. Camron,
Deadbeat,
Silicon Teens,
Deakin,
Eurythmics,
Gichy Dan,
Rakim,
Drexciya,
Traffic Nightmare,
Ituana,
Moby Grape,
Kool G Rap & DJ Polo,
Deutsch Amerikanische Freundschaft,
Television,
Sun Ra Arkestra,
Shuggie Otis,
Wire,
Minny Pops,
Jandek,
Outsiders,
Essential Logic,
Man Eating Sloth,
Electric Prunes,
Fear,
UT,
Bauhaus,
Kaleidoscope,
Bill Wells,
Schoolly D,
Agitation Free,
Gary Puckett & The Union Gap,
Black Bananas,
OOIOO,
Stiv Bators,
ABBA,
Franke,
Lightning Bolt, Lightning Bolt, Lightning Bolt, Lightning Bolt.
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.