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 Czech Republic and from Hong Kong.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Seoul and London.
I'm losing my edge to the art-school Bologna 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 mellotron sounds with much patience.
I was there when Robert Palmer 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 Avey Tare to the electroclash kids.
I played it at the Spitz.
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 Sixth Finger. All the underground hits.
All Alton Ellis tracks. I heard you have a vinyl of every The Smoke record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Ronnie Foster record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter and Kerry,
Brick,
Bang on a Can All-Stars,
Byron Stingily,
The Pop Group,
Ornette Coleman,
The Black Dice,
The Slits,
Alison Limerick,
The West Coast Pop Art Experimental Band,
the Association,
T. Rex,
Art Ensemble Of Chicago,
Ash Ra Tempel,
Severed Heads,
Stetsasonic,
The Pretty Things,
Soulsonic Force,
The Monks,
The Dave Clark Five,
Judy Mowatt,
Sparks,
Sun Ra Arkestra,
Pere Ubu,
Country Teasers,
Flash Fearless,
Strawberry Alarm Clock,
Duran Duran,
The Smiths,
Rapeman,
Sex Pistols,
Michelle Simonal,
Major Organ And The Adding Machine,
Laurel Aitken,
Robert Görl,
Lee Hazlewood,
These Immortal Souls,
Von Mondo,
Teenage Jesus and the Jerks,
Kerri Chandler,
Grey Daturas,
Scan 7,
Super Lover Cee & Casanova Rud,
Parry Music,
The Fortunes,
Schoolly D,
Minor Threat,
Avey Tare,
R.M.O.,
Vaughan Mason & Crew,
The Cowsills,
Quadrant,
Yellowson,
Bizarre Inc.,
Can,
Fat Boys,
Eve St. Jones,
Make Up,
Piero Umiliani,
Hasil Adkins,
Roxy Music,
Aaron Thompson,
Dave Gahan,
Skriet,
Q and Not U, Q and Not U, Q and Not U, Q and Not U.
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.