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 Latvia and from Mumbai.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Copenhagen.
I'm losing my edge to the art-school Toronto 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the spring reverb 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 Sonny Sharrock to the grunge kids.
I played it at the 40 Watt.
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 Eyeless In Gaza. All the underground hits.
All Roxette tracks. I heard you have a vinyl of every Carl Craig 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 '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a DNA record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Modern Lovers,
48th St. Collective,
The American Breed,
Röyhkä ja Rättö ja Lehtisalo,
E-Dancer,
cv313,
The Martian,
Altered Images,
The Human League,
The United States of America,
Outsiders,
Lightning Bolt,
Sly & The Family Stone,
Pagans,
Magazine,
The Pop Group,
Shuggie Otis,
Unrelated Segments,
The Barracudas,
Kauko Röyhkä ja Narttu,
Icehouse,
The Star Department,
The Black Dice,
Tom Boy,
Thinking Fellers Union Local 282,
Orchestral Manoeuvres in the Dark,
Pantaleimon,
Aaron Thompson,
Inner City,
Electric Light Orchestra,
The Peanut Butter Conspiracy,
Sun City Girls,
The Mighty Diamonds,
Moby Grape,
The Monochrome Set,
Gian Franco Pienzio,
Siouxsie and the Banshees,
the Swans,
Bobby Byrd,
The Durutti Column,
The Leaves,
Laurel Aitken,
Sam Rivers,
Matthew Bourne,
The Moody Blues,
Newcleus,
Jesper Dahlback,
DJ Style,
Black Flag,
Desert Stars,
Notorious BIG live in Amsterdam,
Joe Smooth,
Dawn Penn,
Clear Light,
Dead Boys,
The Knickerbockers,
Scion,
Metal Thangz,
Monks,
Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow.
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.