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 Barbados 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 1966 to 1978.
I'm losing my edge.
To all the kids in Lille and Glasgow.
I'm losing my edge to the art-school Lille 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the linndrum 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 Country Teasers to the electroclash 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 Grey Daturas. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every Tom Boy record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
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 Ralphi Rosario 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?
Blossom Toes,
Marc Almond,
DeepChord presents Echospace,
Kango’s Stein Massive,
Blake Baxter,
CMW,
Ultra Naté,
The Leaves,
Animal Collective,
The Count Five,
Jandek,
Siouxsie and the Banshees,
Chris Corsano,
Robert Wyatt,
Jeff Lynne,
Maleditus Sound,
Pere Ubu,
Harmonia,
Eyeless In Gaza,
Matthew Halsall,
Joe Finger,
Bootsy Collins,
The Vogues,
Fela Kuti,
Pete Rock & C.L. Smooth,
Sarah Menescal,
The Martian,
June of 44,
The Kinks,
Mary Jane Girls,
The Golliwogs,
Bill Wells,
Dorothy Ashby,
Althea and Donna,
Sad Lovers and Giants,
Sun City Girls,
Fluxion,
Mo-Dettes,
James White and The Blacks,
Rapeman,
Wolf Eyes,
Nick Fraelich,
Gabor Szabo,
The Young Rascals,
Electric Light Orchestra,
E-Dancer,
Justin Hinds & The Dominoes,
Joe Smooth,
Saccharine Trust,
Dr. Dre and Snoop Doggy Dog,
The United States of America,
Cabaret Voltaire,
Faraquet,
Television,
Cybotron,
Big Daddy Kane,
Aswad,
Magazine,
The Smiths,
Dead Boys,
The Sonics,
The Black Dice,
Sandy B,
John Lydon, John Lydon, John Lydon, John Lydon.
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.