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 Burkina and from Edmonton.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1971.
I'm losing my edge.
To all the kids in Salvador and Jakarta.
I'm losing my edge to the art-school Houston 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 Wire practice in a loft in Watford.
I was working on the synthesizer sounds with much patience.
I was there when Michael McDonald 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 Pierre Henry to the jazz kids.
I played it at the Hacienda.
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 Shoche. All the underground hits.
All Swans tracks. I heard you have a vinyl of every Albert Ayler 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 '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Adolescents,
Eric Copeland,
the Germs,
Bauhaus,
The Five Americans,
Hoover,
Skarface,
LL Cool J,
PIL,
The Toasters,
This Heat,
Captain Beefheart & His Magic Band,
The Litter,
Harry Pussy,
Agent Orange,
Oneida,
Duran Duran,
Shuggie Otis,
Y Pants,
Fluxion,
Visage,
Lou Reed & John Cale,
Nick Fraelich,
Essential Logic,
the Slits,
The Motions,
Janne Schatter,
The Smiths,
Lakeside,
Charles Mingus,
The Martian,
Gerry Rafferty,
Bobby Sherman,
The Moody Blues,
Pole,
Hasil Adkins,
Art Ensemble Of Chicago,
the Association,
London Community Gospel Choir,
Oppenheimer Analysis,
Porter Ricks,
Anthony Braxton,
The Invisible,
Lebanon Hanover,
DJ Sneak,
Ronan,
Pulsallama,
Beasts of Bourbon,
De La Soul & Jungle Brothers,
Chris Corsano,
Electric Light Orchestra,
Fifty Foot Hose,
Nick Cave & The Bad Seeds,
China Crisis,
The Slits,
Ultramagnetic MC's,
Stetsasonic,
Kings Of Tomorrow,
The Dave Clark Five,
Black Bananas,
Kauko Röyhkä ja Narttu,
Bill Near,
Scott Walker + Sunn O))), Scott Walker + Sunn O))), Scott Walker + Sunn O))), Scott Walker + Sunn O))).
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.