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 Belize and from Madrid.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1969 to 1979.
I'm losing my edge.
To all the kids in Accra and Lyon.
I'm losing my edge to the art-school Houston 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 guitar sounds with much patience.
I was there when Tom Verlaine 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 James Chance & The Contortions to the grime 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 Amon Düül. All the underground hits.
All Unrelated Segments tracks. I heard you have a vinyl of every Angry Samoans 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 '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Simply Red record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lindisfarne,
DJ Style,
Eurythmics,
X-101,
Urselle,
Oblivians,
Peter Gordon & Love of Life Orchestra,
Heavy D & The Boyz,
H. Thieme,
Laurel Aitken,
Sugar Minott,
Heaven 17,
Anakelly,
Selector Dub Narcotic,
B.T. Express,
Kings Of Tomorrow,
Desert Stars,
Eyeless In Gaza,
Sticky Fingaz feat. Raekwon,
The Star Department,
Wire,
Ash Ra Tempel,
48th St. Collective,
Fatback Band,
Sexual Harrassment,
Kerrie Biddell,
The Alarm Clocks,
The Leaves,
Organ,
Kool Moe Dee,
the Normal,
Bobby Womack,
Rites of Spring,
The Standells,
Echo & the Bunnymen,
Strawberry Alarm Clock,
The Wake,
Max Romeo,
Duran Duran,
Minutemen,
Jesper Dahlback,
Avey Tare's Slasher Flicks,
Junior Murvin,
Grauzone,
D'Angelo,
Visage,
Joe Smooth,
The Sisters of Mercy,
Teenage Jesus and the Jerks,
Unwound,
Porter Ricks,
Man Eating Sloth,
Tres Demented,
Intrusion,
Bauhaus,
Alison Limerick,
Jesper Dahlbäck,
Jacques Brel,
Cybotron,
MDC,
Main Source,
U.S. Maple, U.S. Maple, U.S. Maple, U.S. Maple.
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.