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 Congo and from Salvador.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1960 to 1977.
I'm losing my edge.
To all the kids in London and Bologna.
I'm losing my edge to the art-school Tehran 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 linndrum 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 Charles Mingus to the techno 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 Das Ding. All the underground hits.
All Rufus Thomas tracks. I heard you have a vinyl of every Blancmange record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Depeche Mode record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moebius,
Bang on a Can All-Stars,
Cal Tjader,
Super Lover Cee & Casanova Rud,
Minny Pops,
Fifty Foot Hose,
Easy Going,
Lou Reed,
Panda Bear,
Mission of Burma,
Visage,
Laurel Aitken,
Man Parrish,
Dark Day,
Niagra,
Lonnie Liston Smith,
Gil Scott-Heron & Brian Jackson,
Juan Atkins,
Be Bop Deluxe,
Manfred Mann's Earth Band,
cv313,
Wolf Eyes,
Monolake,
Circle Jerks,
Harmonia,
The Techniques,
Brothers Johnson,
Lee Hazlewood,
Radio Birdman,
Urselle,
The Toasters,
James White and The Blacks,
Pulsallama,
Q and Not U,
Nation of Ulysses,
Q65,
Lyres,
Sugar Minott,
Eurythmics,
Pere Ubu,
The Peanut Butter Conspiracy,
John Coltrane,
Jeff Mills,
Delon & Dalcan,
DJ Style,
Charles Mingus,
Notorious Big And Bone Thugs,
Alphaville,
Index,
K-Klass,
The Alarm Clocks,
Rowland S Howard / Lydia Lunch,
Supertramp,
The Residents,
Cecil Taylor,
Grandmaster Flash and the Furious Five,
Spoonie Gee,
Bush Tetras,
The Monks,
R.M.O.,
Gang Starr,
Grandmaster Flash, Grandmaster Flash, Grandmaster Flash, Grandmaster Flash.
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.