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 Cambodia and from Sao Paulo.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1968 to 1970.
I'm losing my edge.
To all the kids in Salvador and Lyon.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the chamberlin sounds with much patience.
I was there when Michael McDonald 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 Pere Ubu to the rap kids.
I played it at the Roxy.
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 The Neon Judgement. All the underground hits.
All 48th St. Collective tracks. I heard you have a vinyl of every The Move record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a It's A Beautiful Day record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Age Steppers,
Excepter,
The Selecter,
The Kinks,
Man Eating Sloth,
Michelle Simonal,
Eric B and Rakim,
Lou Christie,
Junior Murvin,
Severed Heads,
Captain Beefheart & His Magic Band,
Albert Ayler,
Blossom Toes,
Joensuu 1685,
Derrick May,
Oneida,
Pulsallama,
Jeff Mills,
Arcadia,
Crooked Eye,
Graham Central Station,
Dual Sessions,
The Saints,
Pharoah Sanders,
Al Stewart,
Charles Mingus,
Tres Demented,
The Remains,
Jimmy McGriff,
Soul Sonic Force,
James White and The Blacks,
Siouxsie and the Banshees,
Bush Tetras,
Fat Boys,
Visionaries,LMNO, T- Love & Iriscience,
Andrew Ashong & Theo Parrish,
Marmalade,
The Toasters,
Sällskapet,
Gregory Isaacs,
The Invisible,
Kings Of Tomorrow,
Eli Mardock,
Agent Orange,
X-101,
ABC,
John Coltrane,
Reuben Wilson,
Pantaleimon,
Newcleus,
Pete Rock & C.L. Smooth,
Boredoms,
The Knickerbockers,
Pussy Galore,
Freddie Wadling,
The Gap Band,
Kerrie Biddell,
Television,
Lou Reed & Metallica,
Skaos,
Hoover,
Scan 7,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.