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 Eritrea and from Taipei.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Lille and Stockholm.
I'm losing my edge to the art-school Columbus 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 David Bowie 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 Masters at Work to the techno kids.
I played it at Cafe Wha.
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 Warsaw. All the underground hits.
All Lou Reed tracks. I heard you have a vinyl of every Black Flag record on German import.
I heard that you have a white label of every seminal crunk 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 linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young & Crazy Horse record.
I hear that you and your band have sold your sitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lucky Dragons,
PIL,
Television,
Eurythmics,
Tom Boy,
Strawberry Alarm Clock,
Pagans,
Massinfluence,
The Associates,
Joe Finger,
Japan,
Popol Vuh,
Marc Almond,
Soul Sonic Force,
Los Fastidios,
the Germs,
Yusef Lateef,
Minor Threat,
Jacques Brel,
Patti Smith,
The Blackbyrds,
Niagra,
The Count Five,
Traffic Nightmare,
Mary Jane Girls,
Brass Construction,
Steve Hackett,
Eyeless In Gaza,
Khruangbin,
Zapp,
The Durutti Column,
Donald Byrd,
Richard Hell and the Voidoids,
The Cowsills,
Boogie Down Productions,
Siglo XX,
Sugar Minott,
Joyce Sims,
The Doobie Brothers,
Jerry Gold Smith,
The Walker Brothers,
Symarip,
Porter Ricks,
The Red Krayola,
Delta 5,
ABBA,
Archie Shepp,
The Moleskins,
Major Organ And The Adding Machine,
Grandmaster Flash,
T. Rex,
Infiniti,
Stockholm Monsters,
Kaleidoscope,
Alice Coltrane,
Ronan,
The Kinks,
Big Daddy Kane,
A Certain Ratio,
Au Pairs,
Interpol,
UT,
Todd Rundgren,
World's Most, World's Most, World's Most, World's Most.
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.