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 Germany and from Cairo.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Bologna and Tokyo.
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 spring reverb 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 Pulsallama to the disco kids.
I played it at the Spitz.
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 Pantaleimon. All the underground hits.
All Colin Newman tracks. I heard you have a vinyl of every Anakelly 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 '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Terry Callier record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nik Kershaw,
The Toasters,
Excepter,
Von Mondo,
Fatback Band,
The Techniques,
Henry Cow,
Marc Almond,
Lyres,
X-101,
Scratch Acid,
Lebanon Hanover,
MDC,
Neu!,
Andrew Hill,
Charles Mingus,
Matthew Halsall,
Gil Scott-Heron & Brian Jackson,
Rekid,
The Names,
A Flock of Seagulls,
Derrick Morgan,
DJ Style,
Marcia Griffiths,
Whodini,
Index,
Freddie Wadling,
Goldenarms,
Steve Hackett,
Tears for Fears,
Bauhaus,
Magazine,
Procol Harum,
Gastr Del Sol,
Can,
Richard Hell and the Voidoids,
Jandek,
Erasure,
The American Breed,
London Community Gospel Choir,
Marvin Gaye,
Jacob Miller,
Dead Boys,
Kaleidoscope,
The Sisters of Mercy,
The Martian,
the Germs,
Gregory Isaacs,
The West Coast Pop Art Experimental Band,
Newcleus,
The Kinks,
Reuben Wilson,
Frankie Knuckles,
Be Bop Deluxe,
Popol Vuh,
The Sound,
Toni Rubio,
New York Dolls,
Susan Cadogan,
Mr. Review,
The Fuzztones,
Tropical Tobacco,
Crash Course in Science, Crash Course in Science, Crash Course in Science, Crash Course in Science.
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.