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 Uruguay and from Winnipeg.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Hong Kong and Mexico City.
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 Buzzcocks practice in a loft in Bolton.
I was working on the arpeggiator 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 PIL to the electroclash 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 Camberwell Now. All the underground hits.
All Don Cherry tracks. I heard you have a vinyl of every Althea and Donna record on German import.
I heard that you have a white label of every seminal dance 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 synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Soft Machine record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
These Immortal Souls,
Ten City,
Bobbi Humphrey,
The Vogues,
The Fortunes,
Ultravox,
Oppenheimer Analysis,
Television,
World's Most,
Blake Baxter,
the Sonics,
Delta 5,
Soulsonic Force,
Minutemen,
Roy Ayers Ubiquity,
Jandek,
Jacques Brel,
The Fuzztones,
The Residents,
Bob Dylan,
The Doobie Brothers,
Eric Copeland,
ABBA,
Sticky Fingaz feat. Raekwon,
Audionom,
D'Angelo,
Dorothy Ashby,
The Smiths,
Fifty Foot Hose,
Kenny Larkin,
The Dirtbombs,
The Black Dice,
Peter Gordon & Love of Life Orchestra,
Little Man,
Pulsallama,
Tomorrow,
Ultimate Spinach,
Ajijia Myrayebe,
Rowland S Howard / Lydia Lunch,
Shuggie Otis,
Joe Smooth,
Terry Callier,
Joey Negro,
Minnie Riperton,
Tom Boy,
T.S.O.L.,
The Saints,
Kevin Saunderson,
Eyeless In Gaza,
Nirvana,
Simply Red,
Quantec,
Blancmange,
The Beau Brummels,
Agitation Free,
Graham Central Station,
The Men They Couldn't Hang,
Faraquet,
Scan 7,
Bobby Byrd,
Rosa Yemen,
Rotary Connection,
Basic Channel,
Minor Threat, Minor Threat, Minor Threat, Minor Threat.
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.