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 Argentina and from Lagos.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Philadelphia.
I'm losing my edge to the art-school Madrid 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the snare sounds with much patience.
I was there when Lou Reed 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 Aswad to the grime kids.
I played it at the Astoria.
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 Robert Görl. All the underground hits.
All The Pop Group tracks. I heard you have a vinyl of every Intrusion record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your oboe and bought a theremin.
I hear that you and your band have sold your theremin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
B.T. Express,
Country Joe & The Fish,
Traffic Nightmare,
Spoonie Gee,
T.S.O.L.,
Organ,
The Real Kids,
Camberwell Now,
Jeru the Damaja,
Whodini,
Zero Boys,
Rapeman,
Gil Scott-Heron and Jamie xx,
Tom Boy,
Ronan,
Oneida,
The Fuzztones,
Young Marble Giants,
The West Coast Pop Art Experimental Band,
Soul II Soul,
The Moleskins,
The Toasters,
Joyce Sims,
Jesper Dahlback,
The Jesus and Mary Chain,
Avey Tare's Slasher Flicks,
Byron Stingily,
Harmonia,
X-101,
Silicon Teens,
Sugar Minott,
Henry Cow,
Public Enemy,
Deutsch Amerikanische Freundschaft,
Crash Course in Science,
Peter Gordon & Love of Life Orchestra,
Malaria!,
Bootsy's Rubber Band,
Blossom Toes,
Con Funk Shun,
Bill Wells,
Q65,
Scrapy,
Maleditus Sound,
Bootsy Collins,
Stiv Bators,
Deepchord,
Derrick Morgan,
Nick Fraelich,
Fat Boys,
Juan Atkins,
Mark Hollis,
the Association,
Visionaries,LMNO, T- Love & Iriscience,
Black Sheep,
Gil Scott Heron,
kango's stein massive,
Steve Hackett,
John Cale,
Bauhaus,
London Community Gospel Choir,
Urselle,
Oblivians, Oblivians, Oblivians, Oblivians.
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.