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 Portugal and from Manchester.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Mumbai and Columbus.
I'm losing my edge to the art-school Beijing 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the oboe 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 The New Christs to the grime 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 The Durutti Column. All the underground hits.
All Bush Tetras tracks. I heard you have a vinyl of every Art Ensemble Of Chicago 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 '50s cut and another box set from the '70s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Eric Dolphy record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-Ray Spex,
Simply Red,
Roy Ayers Ubiquity,
Suburban Knight,
Liaisons Dangereuses,
Model 500,
Michelle Simonal,
Porter Ricks,
The Five Americans,
Marcia Griffiths,
Howard Jones,
The Mighty Diamonds,
Dark Day,
The Count Five,
Soft Machine,
Joy Division,
Monolake,
The Cramps,
A Certain Ratio,
Lebanon Hanover,
Blossom Toes,
The Birthday Party,
Wighnomy Brothers & Robag Wruhme,
Gang Green,
Inner City,
Gang of Four,
UT,
The Kinks,
Jeff Lynne,
Jeru the Damaja,
The Trojans,
Pierre Henry,
Sound Behaviour,
Alphaville,
The Evens,
Man Parrish,
Country Joe & The Fish,
Circle Jerks,
Outsiders,
Orchestral Manoeuvres in the Dark,
Agitation Free,
Magma,
Smog,
The Cosmic Jokers,
The Detroit Cobras,
Gregory Isaacs,
New Order,
New Age Steppers,
Young Marble Giants,
Barclay James Harvest,
The Black Dice,
The Blackbyrds,
Suicide,
Amazonics,
Rakim,
The Cure,
June of 44,
Skaos,
Wire,
Oneida,
Maleditus Sound,
Intrusion, Intrusion, Intrusion, Intrusion.
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.