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 Malta and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 Stockholm and Sao Paulo.
I'm losing my edge to the art-school Winnipeg 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 Sight & Sound to the crunk kids.
I played it at CBGB's.
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 Eli Mardock. All the underground hits.
All The Grass Roots tracks. I heard you have a vinyl of every The Tremeloes 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 '50s cut and another box set from the '70s.
I hear you're buying a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Camouflage record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Be Bop Deluxe,
Clear Light,
Camouflage,
Boogie Down Productions,
The Standells,
The Seeds,
Los Fastidios,
Joe Finger,
The Happenings,
Electric Light Orchestra,
Shoche,
Rhythim Is Rhythim,
Q65,
Tom Boy,
The Doors,
Average White Band,
Kaleidoscope,
Moby Grape,
Sonic Youth,
Sun Ra,
Marvin Gaye,
The Sisters of Mercy,
Grandmaster Flash and the Furious Five,
Skriet,
Flash Fearless,
Magazine,
Ten City,
Eurythmics,
Harmonia,
Eddi Front,
Fad Gadget,
The Neon Judgement,
The Chocolate Watch Band,
Visage,
Chris Corsano,
Fugazi,
Suburban Knight,
Avey Tare & Kría Brekkan,
Tim Buckley,
the Swans,
Scan 7,
The Raincoats,
The Motions,
Kas Product,
Brand Nubian,
Avey Tare,
Procol Harum,
ABBA,
Japan,
Big Daddy Kane,
Louis and Bebe Barron,
Jacques Brel,
Piero Umiliani,
In Retrospect,
Suicide,
Malaria!,
The Gun Club,
Black Pus,
Visionaries,LMNO, T- Love & Iriscience,
The Star Department,
Bob Dylan,
Mary Jane Girls,
Lyres, Lyres, Lyres, Lyres.
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.