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 United States and from Jakarta.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Philadelphia and Shanghai.
I'm losing my edge to the art-school Edmonton 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the arpeggiator sounds with much patience.
I was there when Lou Reed 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 Faust to the jazz kids.
I played it at the 40 Watt.
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 Index. All the underground hits.
All Colin Newman tracks. I heard you have a vinyl of every Tears for Fears record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mandrill,
The Slackers,
In Retrospect,
Richard Hell and the Voidoids,
Pierre Henry,
Janne Schatter,
Bauhaus,
This Heat,
Rhythim Is Rhythim,
The Count Five,
Avey Tare's Slasher Flicks,
Cheater Slicks,
The Trojans,
Visionaries,LMNO, T- Love & Iriscience,
Fugazi,
Oppenheimer Analysis,
Yellowson,
MC5,
Kas Product,
Pantaleimon,
Harpers Bizarre,
Joensuu 1685,
Eden Ahbez,
Little Man,
The Birthday Party,
Q and Not U,
Moss Icon,
Lakeside,
Bad Manners,
The Human League,
Leonard Cohen,
Crooked Eye,
Groovy Waters,
Swans,
The Barracudas,
Icehouse,
the Swans,
Pere Ubu,
Sun City Girls,
Marvin Gaye,
Slick Rick,
X-102,
The Fuzztones,
Inner City,
Main Source,
Index,
Graham Central Station,
The Techniques,
The Dirtbombs,
Second Layer,
Kool G Rap & DJ Polo,
Ultimate Spinach,
The Fire Engines,
Tomorrow,
Spandau Ballet,
Kaleidoscope,
Gabor Szabo,
Nick Fraelich,
Blancmange,
Michelle Simonal,
Alphaville,
Ultramagnetic MC's,
The Residents,
Nik Kershaw, Nik Kershaw, Nik Kershaw, Nik Kershaw.
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.