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 Colombia and from Stockholm.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1973.
I'm losing my edge.
To all the kids in Tehran and Shanghai.
I'm losing my edge to the art-school Jakarta 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 Tom Verlaine 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 Tomorrow to the crunk 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 Blake Baxter. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every Peter Gordon & Love of Life Orchestra record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Girls At Our Best!,
Hardrive,
Peter Gordon & Love of Life Orchestra,
Joensuu 1685,
Underground Resistance,
The Chocolate Watch Band,
Lalann,
Cecil Taylor,
Lungfish,
Lou Christie,
The Electric Prunes,
New Order,
Bill Wells,
Loose Ends,
Rites of Spring,
Sun City Girls,
Ultravox,
Barry Ungar,
Blake Baxter,
Throbbing Gristle,
The Move,
Cybotron,
The Grass Roots,
Gang Starr,
These Immortal Souls,
The Real Kids,
Joy Division,
Fugazi,
Supertramp,
Chris Corsano,
John Cale,
Roger Hodgson,
Excepter,
Steve Hackett,
Junior Murvin,
Make Up,
De La Soul & Jungle Brothers,
Isaac Hayes,
Sexual Harrassment,
Malaria!,
the Soft Cell,
The Divine Comedy,
The Wake,
Fela Kuti,
Aaron Thompson,
Model 500,
Soft Machine,
Soul II Soul,
Sandy B,
Kango’s Stein Massive,
Monks,
La Düsseldorf,
Q and Not U,
Fear,
Kurtis Blow,
Bizarre Inc.,
Freddie Wadling,
Quadrant,
The Smiths,
Gang Gang Dance,
Jerry Gold Smith,
Sixth Finger,
Average White Band, Average White Band, Average White Band, Average White Band.
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.