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 Estonia and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Stockholm and New York.
I'm losing my edge to the art-school Johannesburg 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 theremin sounds with much patience.
I was there when Lou Reed 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 Flamin' Groovies to the funk kids.
I played it at the Crocodile.
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 Dave Gahan. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every Khruangbin record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Glenn Branca record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Visage,
Echo & the Bunnymen,
T. Rex,
Goldenarms,
Theoretical Girls,
Lou Christie,
This Heat,
Jeru the Damaja,
The Electric Prunes,
Ten City,
Crime,
The Knickerbockers,
Joe Smooth,
Grandmaster Flash and the Furious Five,
Pete Rock & C.L. Smooth,
The Associates,
Soft Machine,
Hardrive,
Magma,
Alton Ellis,
a-ha,
Warsaw,
The Fortunes,
The Standells,
Ultra Naté,
Kenny Larkin,
James Chance & The Contortions,
The Kinks,
Scan 7,
Sun Ra,
Gichy Dan,
June Days,
Neu!,
Amon Düül II,
Fela Kuti,
Blake Baxter,
Cabaret Voltaire,
Main Source,
Althea and Donna,
U.S. Maple,
Stetsasonic,
Traffic Nightmare,
Bobby Hutcherson,
Danielle Patucci,
Liliput,
kango's stein massive,
Bauhaus,
Lyres,
Malaria!,
Manfred Mann's Earth Band,
Piero Umiliani,
Icehouse,
Notorious Big And Bone Thugs,
Lou Reed & John Cale,
H. Thieme,
Brick,
Ossler,
The Cure,
Stockholm Monsters,
The Slits,
Gang Green,
Roxy Music,
John Lydon,
Deakin, Deakin, Deakin, Deakin.
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.