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 Lithuania and from Mexico City.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Shanghai and Milan.
I'm losing my edge to the art-school Shanghai 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 guitar sounds with much patience.
I was there when Robert Palmer 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 Judy Mowatt to the grunge kids.
I played it at the Astoria.
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 Crispian St. Peters. All the underground hits.
All Fad Gadget tracks. I heard you have a vinyl of every T. Rex record on German import.
I heard that you have a white label of every seminal grime 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 synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sam Rivers,
Ultimate Spinach,
Liaisons Dangereuses,
Crispian St. Peters,
Model 500,
Quadrant,
Alison Limerick,
Depeche Mode,
Von Mondo,
Bush Tetras,
Larry & the Blue Notes,
Warren Ellis,
Rhythim Is Rhythim,
The Fall,
The United States of America,
Gastr Del Sol,
Stockholm Monsters,
Godley & Creme,
Mandrill,
LL Cool J,
De La Soul & Jungle Brothers,
Peter and Kerry,
Strawberry Alarm Clock,
Yellowson,
Yusef Lateef,
The Gladiators,
Dark Day,
Monolake,
Tropical Tobacco,
Junior Murvin,
Harry Pussy,
Soulsonic Force,
The Doors,
Fear,
Super Lover Cee & Casanova Rud,
Hasil Adkins,
Gabor Szabo,
Sugar Minott,
The Sisters of Mercy,
D'Angelo,
Harmonia,
The Busters,
Dr. Dre and Snoop Doggy Dog,
L. Decosne,
U.S. Maple,
Sällskapet,
Index,
Bang On A Can,
Can,
Johnny Clarke,
Circle Jerks,
Idris Muhammad,
T.S.O.L.,
Bauhaus,
Susan Cadogan,
The Mojo Men,
10cc,
Stiv Bators,
Matthew Halsall,
The Velvet Underground,
The Five Americans,
The American Breed,
Tim Buckley, Tim Buckley, Tim Buckley, Tim Buckley.
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.