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 Venezuela and from Tehran.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Bremen and Winnipeg.
I'm losing my edge to the art-school Columbus 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the synthesizer 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 Bang On A Can to the disco 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 Masters at Work. All the underground hits.
All Lucky Dragons tracks. I heard you have a vinyl of every The Walker Brothers record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Electric Light Orchestra record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Jesus and Mary Chain,
Lizzy Mercier Descloux,
Lebanon Hanover,
Yellowson,
Brass Construction,
June of 44,
Altered Images,
Glambeats Corp.,
Fugazi,
Bill Near,
Johnny Osbourne,
Magazine,
Rhythm & Sound,
The Smiths,
Subhumans,
Godley & Creme,
Khruangbin,
The Tremeloes,
Bobby Byrd,
Flash Fearless,
The Knickerbockers,
The Fortunes,
David McCallum,
Bob Dylan,
Bizarre Inc.,
Pete Rock & C.L. Smooth,
Zero Boys,
Stockholm Monsters,
Accadde A,
Sex Pistols,
Lungfish,
Isaac Hayes,
The Gories,
Al Stewart,
Rotary Connection,
The Human League,
The Black Dice,
Iggy Pop,
Black Pus,
Liliput,
Severed Heads,
The Cosmic Jokers,
Joey Negro,
Reuben Wilson,
Larry & the Blue Notes,
Blossom Toes,
Bang on a Can All-Stars,
The Saints,
The Alarm Clocks,
Leonard Cohen,
Jerry Gold Smith,
Massinfluence,
Selector Dub Narcotic,
Marcia Griffiths,
Dark Day,
The Doors,
Aaron Thompson,
Suburban Knight,
Mary Jane Girls,
Marc Romboy vs. Booka Shade,
Cybotron,
The Red Krayola,
Archie Shepp, Archie Shepp, Archie Shepp, Archie Shepp.
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.