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 Tonga and from Mumbai.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Stockholm and Hong Kong.
I'm losing my edge to the art-school Milan 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 1978 at the first Visage practice in a loft in London.
I was working on the guitar sounds with much patience.
I was there when Captain Beefheart 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 Traffic Nightmare to the funk 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 The Misunderstood. All the underground hits.
All The Residents tracks. I heard you have a vinyl of every Mo-Dettes record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Angels of Light,
Desert Stars,
Grey Daturas,
T.S.O.L.,
Josef K,
Marmalade,
Main Source,
Grandmaster Flash and the Furious Five,
Eurythmics,
The Gap Band,
Joe Finger,
The Wake,
Mars,
Eric Dolphy,
The Skatalites,
Unwound,
June Days,
The Evens,
Curtis Mayfield,
Unrelated Segments,
Visionaries,LMNO, T- Love & Iriscience,
Neu!,
Matthew Bourne,
Larry & the Blue Notes,
The Sisters of Mercy,
Bang On A Can,
The Dirtbombs,
the Soft Cell,
Oblivians,
The Music Machine,
Outsiders,
Slave,
The Pretty Things,
A Certain Ratio,
Ralphi Rosario,
The Misunderstood,
Byron Stingily,
Camouflage,
Von Mondo,
Minny Pops,
Johnny Clarke,
David Axelrod,
Liaisons Dangereuses,
Blancmange,
Bill Near,
Harmonia,
Shuggie Otis,
Das Ding,
Surgeon,
Lee Hazlewood,
The Dead C,
La Düsseldorf,
Barry Ungar,
Marcia Griffiths,
Carl Craig,
Tropical Tobacco,
Scion,
Jesper Dahlback,
The Detroit Cobras,
Metal Thangz,
Robert Görl,
Marc Almond,
X-Ray Spex, X-Ray Spex, X-Ray Spex, X-Ray Spex.
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.