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 Swaziland 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 1974.
I'm losing my edge.
To all the kids in New York and Mexico City.
I'm losing my edge to the art-school Philadelphia 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 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 Rhythim Is Rhythim to the rock kids.
I played it at the 40 Watt.
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 Soft Cell. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every Agitation Free 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 '60s cut and another box set from the '70s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deadbeat,
James White and The Blacks,
Piero Umiliani,
Severed Heads,
The Cramps,
The Happenings,
Eurythmics,
Minnie Riperton,
Avey Tare,
New York Dolls,
Andrew Hill,
Mr. Review,
Skriet,
Television Personalities,
Shuggie Otis,
Moebius,
Crispy Ambulance,
Radiohead,
Amon Düül II,
Infiniti,
Oblivians,
Arcadia,
Amazonics,
Jesper Dahlbäck,
Tubeway Army,
Livin' Joy,
Isaac Hayes,
Unrelated Segments,
Peter and Kerry,
New Age Steppers,
The American Breed,
Robert Wyatt,
Glambeats Corp.,
Bizarre Inc.,
Negative Approach,
MC5,
The Cosmic Jokers,
Bobbi Humphrey,
Leonard Cohen,
Symarip,
Gang of Four,
Ronnie Foster,
D'Angelo,
Hardrive,
Judy Mowatt,
The Moleskins,
Kenny Larkin,
Dave Gahan,
Bill Near,
Eric Copeland,
The Cure,
Rod Modell,
Hot Snakes,
Minny Pops,
Liliput,
Mark Hollis,
Barrington Levy,
Teenage Jesus and the Jerks,
The Tremeloes,
Sunsets and Hearts,
Ituana,
Alton Ellis,
Magazine, Magazine, Magazine, Magazine.
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.