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 United States and from Shanghai.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Hong Kong and Philadelphia.
I'm losing my edge to the art-school Tehran 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the güiro 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 The Names to the jazz 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 Ludus. All the underground hits.
All Bobby Hutcherson tracks. I heard you have a vinyl of every Richard Hell and the Voidoids 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 marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Flesh Eaters record.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lonnie Liston Smith,
Thompson Twins,
MDC,
D'Angelo,
The Martian,
Quantec,
Rowland S Howard / Lydia Lunch,
Al Stewart,
Q and Not U,
John Holt,
Gang Green,
The Zeros,
Rosa Yemen,
Supertramp,
Peter and Kerry,
Eddi Front,
June of 44,
Rahsaan Roland Kirk,
Crooked Eye,
Clear Light,
Scrapy,
Soft Cell,
Zero Boys,
Eric Dolphy,
The Associates,
Orchestral Manoeuvres in the Dark,
The Modern Lovers,
The Techniques,
Lyres,
Buzzcocks,
Deutsch Amerikanische Freundschaft,
DeepChord presents Echospace,
Minutemen,
Lebanon Hanover,
Camberwell Now,
Y Pants,
Angry Samoans,
The Durutti Column,
Juan Atkins,
Sällskapet,
The Neon Judgement,
Barry Ungar,
Beasts of Bourbon,
Chris Corsano,
Fatback Band,
Marc Almond,
Zapp,
Section 25,
Tim Buckley,
Boogie Down Productions,
Crime,
Matthew Halsall,
The Smiths,
Drive Like Jehu,
Sarah Menescal,
Bauhaus,
Jeru the Damaja,
Josef K,
The Black Dice,
Kevin Saunderson,
Sad Lovers and Giants,
John Lydon, John Lydon, John Lydon, John Lydon.
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.