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 Gambia and from Columbus.
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 Sao Paulo and Tehran.
I'm losing my edge to the art-school Spokane 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 chamberlin 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 The Standells to the crunk kids.
I played it at the Roxy.
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 Man Parrish. All the underground hits.
All Circle Jerks tracks. I heard you have a vinyl of every Red Lorry Yellow Lorry record on German import.
I heard that you have a white label of every seminal funk 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 a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Bill Near record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
OOIOO,
Delta 5,
Lee Hazlewood,
The Chocolate Watch Band,
Colin Newman,
Intrusion,
The Slackers,
Kerrie Biddell,
Alton Ellis,
Peter and Kerry,
Harry Pussy,
Bang on a Can All-Stars,
The Buckinghams,
John Lydon,
Spoonie Gee,
Soul II Soul,
the Normal,
Pylon,
The Royal Family And The Poor,
Average White Band,
Tim Buckley,
Rakim,
Suburban Knight,
Alphaville,
Lower 48,
Ludus,
Aswad,
New Order,
Zero Boys,
Television,
Mandrill,
Tommy Roe,
Gang Starr,
Oneida,
Michelle Simonal,
Althea and Donna,
The Real Kids,
MC5,
Altered Images,
Ornette Coleman,
Clear Light,
Pierre Henry,
Masters at Work,
Louis and Bebe Barron,
Whodini,
Orchestral Manoeuvres in the Dark,
The Divine Comedy,
Harpers Bizarre,
Susan Cadogan,
Minny Pops,
Bootsy's Rubber Band,
Delon & Dalcan,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Erykah Badu,
Porter Ricks,
The Kinks,
Monks,
Eyeless In Gaza,
U.S. Maple,
James Chance & The Contortions,
Girls At Our Best!, Girls At Our Best!, Girls At Our Best!, Girls At Our Best!.
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.