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 Australia and from Houston.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Salvador and Lille.
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 oboe 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 Adolescents to the grunge 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 Tears for Fears. All the underground hits.
All The Standells tracks. I heard you have a vinyl of every Robert Görl record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sad Lovers and Giants,
Tres Demented,
Big Daddy Kane,
The Leaves,
Crime,
The Victims,
The Five Americans,
The Monks,
The Divine Comedy,
Jacob Miller,
kango's stein massive,
Amon Düül,
Michelle Simonal,
Half Japanese,
The Slackers,
Marcia Griffiths,
Television Personalities,
Jeff Mills,
Joyce Sims,
Cecil Taylor,
Amon Düül II,
Prince Buster,
The Electric Prunes,
The Gladiators,
Drive Like Jehu,
June Days,
Lakeside,
Gil Scott Heron,
Dr. Dre and Snoop Doggy Dog,
Ten City,
The Happenings,
Nick Fraelich,
Peter Gordon & Love of Life Orchestra,
Kerrie Biddell,
Flash Fearless,
Letta Mbulu,
Sun Ra Arkestra,
Ajijia Myrayebe,
The Doors,
Pylon,
Reuben Wilson,
U.S. Maple,
Animal Collective,
David Axelrod,
Pharoah Sanders,
JFA,
Pet Shop Boys,
Nik Kershaw,
Gang Gang Dance,
Avey Tare,
Pierre Henry,
D'Angelo,
Lalann,
Ash Ra Tempel,
Little Man,
Bobby Sherman,
Lucky Dragons,
The Offenders,
Moss Icon,
Cluster,
A Certain Ratio,
Connie Case,
Khruangbin,
X-Ray Spex, X-Ray Spex, X-Ray Spex, X-Ray Spex.
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.