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 Korea South and from Jakarta.
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 1972.
I'm losing my edge.
To all the kids in Philadelphia and Houston.
I'm losing my edge to the art-school Lyon 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the clarinet sounds with much patience.
I was there when Robert Palmer 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 Glenn Branca to the electroclash kids.
I played it at the Roxy.
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 Harpers Bizarre. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every The New Christs 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 '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Cymande record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Circle Jerks,
Pole,
Peter Gordon & Love of Life Orchestra,
Throbbing Gristle,
Amon Düül,
Hasil Adkins,
These Immortal Souls,
Jimmy McGriff,
Maleditus Sound,
The Blues Magoos,
Qualms,
Siouxsie and the Banshees,
Cluster,
Ronan,
The Leaves,
ABBA,
Oneida,
Scratch Acid,
Kaleidoscope,
Barclay James Harvest,
Duran Duran,
Colin Newman,
Minor Threat,
Mars,
Minny Pops,
Ultravox,
Magma,
Mission of Burma,
Avey Tare,
The Victims,
FM Einheit,
PIL,
Grey Daturas,
Dawn Penn,
Surgeon,
The Golliwogs,
Lower 48,
Drexciya,
Ralphi Rosario,
Fluxion,
the Association,
The Smiths,
Half Japanese,
Section 25,
The Remains,
Fort Wilson Riot,
Echospace,
Public Enemy,
Neil Young,
Carl Craig,
New Age Steppers,
Henry Cow,
Cheater Slicks,
Scion,
Pussy Galore,
Sugar Minott,
Joensuu 1685,
Japan,
Sandy B,
One Last Wish,
the Soft Cell,
Theoretical Girls,
Sister Nancy,
Little Man, Little Man, Little Man, Little Man.
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.