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 Dominican Republic and from Woodstock.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Lagos and Manila.
I'm losing my edge to the art-school Glasgow 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 güiro sounds with much patience.
I was there when David Bowie 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 The Beau Brummels to the techno kids.
I played it at Cafe Wha.
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 Technova. All the underground hits.
All Ossler tracks. I heard you have a vinyl of every Radio Birdman 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 '70s cut and another box set from the '70s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Lungfish record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pulsallama,
The Cramps,
Sex Pistols,
Spandau Ballet,
Schoolly D,
China Crisis,
Joey Negro,
Deutsch Amerikanische Freundschaft,
Piero Umiliani,
Tropical Tobacco,
Massinfluence,
Swell Maps,
Girls At Our Best!,
Rotary Connection,
Intrusion,
Nick Cave & The Bad Seeds,
Bobby Sherman,
X-102,
The Names,
James White and The Blacks,
Blake Baxter,
Basic Channel,
The Fire Engines,
Maurizio,
AZ,
The Litter,
Notorious BIG live in Amsterdam,
Louis and Bebe Barron,
The West Coast Pop Art Experimental Band,
June Days,
Gerry Rafferty,
Rufus Thomas,
Selector Dub Narcotic,
Curtis Mayfield,
Andrew Ashong & Theo Parrish,
Delon & Dalcan,
Kas Product,
The Cure,
D'Angelo,
Fear,
Pierre Henry,
Marc Romboy vs. Booka Shade,
Thee Headcoats,
Marcia Griffiths,
Monolake,
Visage,
Eric B and Rakim,
Buzzcocks,
John Cale,
The Alarm Clocks,
Excepter,
Make Up,
Jacob Miller,
The Gun Club,
Mary Jane Girls,
The Smiths,
E-Dancer,
Robert Hood,
Bob Dylan,
Grauzone,
Q and Not U,
The Residents,
Connie Case, Connie Case, Connie Case, Connie Case.
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.