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 Jordan and from Taipei.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1972.
I'm losing my edge.
To all the kids in Bremen and Mumbai.
I'm losing my edge to the art-school Philadelphia 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 clarinet sounds with much patience.
I was there when David Bowie 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 Camron Feat. Memphis Bleek And Beenie Seigel to the electroclash kids.
I played it at the Crocodile.
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 Oblivians. All the underground hits.
All Drexciya tracks. I heard you have a vinyl of every Pantaleimon record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a D'Angelo record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fortunes,
The Dirtbombs,
Barbara Tucker,
Albert Ayler,
Faust,
Amon Düül II,
This Heat,
Scott Walker,
Joyce Sims,
Moby Grape,
Excepter,
The Durutti Column,
The Offenders,
Model 500,
DJ Sneak,
Slick Rick,
Marvin Gaye,
The Alarm Clocks,
The Kinks,
Tim Buckley,
Captain Beefheart & His Magic Band,
Fear,
Urselle,
Amon Düül,
The United States of America,
Make Up,
Juan Atkins,
The Smiths,
Whodini,
Unrelated Segments,
Pete Rock & C.L. Smooth,
Siglo XX,
The Detroit Cobras,
The Pop Group,
Avey Tare,
Spandau Ballet,
Mark Hollis,
Gichy Dan,
Dave Gahan,
Notorious BIG live in Amsterdam,
Major Organ And The Adding Machine,
John Foxx,
The Young Rascals,
Blancmange,
Louis and Bebe Barron,
Marcia Griffiths,
Radio Birdman,
Echospace,
Das Ding,
Country Teasers,
Masters at Work,
Public Enemy,
Alison Limerick,
Oblivians,
Thompson Twins,
The Shadows of Knight,
David McCallum,
Dark Day,
Jerry's Kids,
Sam Rivers,
Schoolly D,
Deepchord, Deepchord, Deepchord, Deepchord.
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.