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 Lyon.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Cairo.
I'm losing my edge to the art-school Tokyo 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the sitar 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 The Moleskins to the rock kids.
I played it at CBGB's.
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 Nation of Ulysses. All the underground hits.
All LL Cool J tracks. I heard you have a vinyl of every Essential Logic record on German import.
I heard that you have a white label of every seminal jazz 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 clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & John Cale,
Yazoo,
Gang Green,
The Monks,
Amazonics,
The Fortunes,
Bob Dylan,
Max Romeo,
Pussy Galore,
Radiopuhelimet,
Yellowson,
Kings Of Tomorrow,
Teenage Jesus and the Jerks,
Flamin' Groovies,
Schoolly D,
Y Pants,
Faust,
Ohio Players,
Bobbi Humphrey,
The Moody Blues,
Kaleidoscope,
Dawn Penn,
The Barracudas,
Joe Smooth,
Maleditus Sound,
The Busters,
Q65,
The Alarm Clocks,
Swell Maps,
Electric Light Orchestra,
Rod Modell,
June Days,
Rekid,
Donny Hathaway,
Unrelated Segments,
Fat Boys,
Aswad,
Sight & Sound,
Selector Dub Narcotic,
The Durutti Column,
Bobby Sherman,
B.T. Express,
Art Ensemble Of Chicago,
Morten Harket,
The Toasters,
Gastr Del Sol,
These Immortal Souls,
Gong,
Visage,
Lungfish,
Ajijia Myrayebe,
Wings,
Dead Boys,
Flipper,
Stiv Bators,
Theoretical Girls,
Joy Division,
Country Joe & The Fish,
Gary Puckett & The Union Gap,
Masters at Work,
The Shadows of Knight,
The Index,
Depeche Mode, Depeche Mode, Depeche Mode, Depeche Mode.
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.