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 Fiji and from Copenhagen.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Houston and Bremen.
I'm losing my edge to the art-school Manchester 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 harpsichord 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 Parry Music to the grime 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 The Remains. All the underground hits.
All Slave tracks. I heard you have a vinyl of every Rosa Yemen record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Lower 48 record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Marmalade,
Au Pairs,
Girls At Our Best!,
Juan Atkins,
Magazine,
Wolf Eyes,
Captain Beefheart & His Magic Band,
Henry Cow,
Warren Ellis,
The Fire Engines,
Ornette Coleman,
The Leaves,
Gichy Dan,
Yazoo,
Public Enemy,
Nas,
Be Bop Deluxe,
Radio Birdman,
The Cosmic Jokers,
Roxette,
Eddi Front,
Steve Hackett,
Junior Murvin,
Donald Byrd,
Surgeon,
These Immortal Souls,
The Mummies,
AZ,
Kas Product,
Eyeless In Gaza,
Pharaoh Sanders and the Fire Engines,
Sun Ra Arkestra,
Jawbox,
The Litter,
Joey Negro,
Pete Rock & C.L. Smooth,
Ossler,
The Electric Prunes,
Siouxsie and the Banshees,
Excepter,
Lalo Schifrin,
Aural Exciters,
Visage,
Mission of Burma,
Newcleus,
Agitation Free,
Kings Of Tomorrow,
Nation of Ulysses,
Notorious BIG live in Amsterdam,
Severed Heads,
Suicide,
New Order,
Toni Rubio,
Black Pus,
the Swans,
Pussy Galore,
Mandrill,
Country Teasers,
Mantronix,
Crime,
Grauzone,
Sällskapet, Sällskapet, Sällskapet, Sällskapet.
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.