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 Albania and from Glasgow.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1970.
I'm losing my edge.
To all the kids in Shanghai and London.
I'm losing my edge to the art-school Johannesburg 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 chamberlin 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 Roxy Music to the disco 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 Johnny Osbourne. All the underground hits.
All The Chocolate Watch Band tracks. I heard you have a vinyl of every Bobby Byrd record on German import.
I heard that you have a white label of every seminal grime 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 marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Youth Brigade,
Underground Resistance,
Gregory Isaacs,
the Association,
Bauhaus,
Glambeats Corp.,
Tropical Tobacco,
The Searchers,
Pussy Galore,
Soft Cell,
Organ,
Hoover,
Swell Maps,
Drexciya,
Kango’s Stein Massive,
Amazonics,
the Slits,
F. McDonald,
Gil Scott-Heron & Brian Jackson,
Dark Day,
The Mighty Diamonds,
The Knickerbockers,
The Mummies,
Animal Collective,
Marc Romboy vs. Booka Shade,
Marshall Jefferson,
Cal Tjader,
Avey Tare & Kría Brekkan,
Tim Buckley,
Colin Newman,
Lalo Schifrin,
Eli Mardock,
London Community Gospel Choir,
Blancmange,
Susan Cadogan,
Ice-T,
The Cosmic Jokers,
Ludus,
The Victims,
Godley & Creme,
Hasil Adkins,
Urselle,
Easy Going,
The Grass Roots,
The Fuzztones,
T. Rex,
The Stooges,
Malaria!,
The Toasters,
Sad Lovers and Giants,
Motorama,
Soul II Soul,
Big Daddy Kane,
De La Soul & Jungle Brothers,
Super Lover Cee & Casanova Rud,
World's Most,
Harry Pussy,
Alison Limerick,
Electric Prunes,
Alton Ellis,
Reuben Wilson,
Albert Ayler,
The Detroit Cobras,
OOIOO, OOIOO, OOIOO, OOIOO.
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.