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 Japan and from Columbus.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1974.
I'm losing my edge.
To all the kids in Calgary and Salvador.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Star Department to the grunge kids.
I played it at the Roxy.
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 Traffic Nightmare. All the underground hits.
All Scion tracks. I heard you have a vinyl of every Soft Cell record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Tomorrow record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül II,
The United States of America,
Lightning Bolt,
Ken Boothe,
the Bar-Kays,
Avey Tare's Slasher Flicks,
The Electric Prunes,
Nick Fraelich,
Deepchord,
Rotary Connection,
Aswad,
Barry Ungar,
The Cowsills,
Moby Grape,
John Holt,
Whodini,
Crash Course in Science,
Second Layer,
Organ,
Sarah Menescal,
Roxy Music,
The Last Poets,
The Slits,
Ajijia Myrayebe,
Gil Scott Heron,
Drexciya,
JFA,
Nas,
Easy Going,
E-Dancer,
The Smoke,
Terry Callier,
Amazonics,
The Jesus and Mary Chain,
Neil Young,
Rahsaan Roland Kirk,
David Bowie,
The Gun Club,
LL Cool J,
Funky Four + One,
Mr. Review,
Zapp,
The Motions,
The Doors,
Lee Hazlewood,
Duran Duran,
Bobbi Humphrey,
Funkadelic,
Art Ensemble Of Chicago,
Harpers Bizarre,
The West Coast Pop Art Experimental Band,
The Doobie Brothers,
Eddi Front,
Maleditus Sound,
The Black Dice,
Rites of Spring,
The Young Rascals,
Oppenheimer Analysis,
Pierre Henry,
Bob Dylan,
Country Teasers,
Technova,
Bill Near,
Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon.
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.