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 Lithuania and from Salvador.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Manila and New York.
I'm losing my edge to the art-school Seoul 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 808 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 Bill Near to the electroclash kids.
I played it at the Astoria.
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 Lower 48. All the underground hits.
All Gian Franco Pienzio tracks. I heard you have a vinyl of every London Community Gospel Choir record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
Roy Ayers Ubiquity,
Brand Nubian,
the Slits,
Porter Ricks,
Peter and Kerry,
Henry Cow,
Charles Mingus,
Youth Brigade,
Pole,
Reuben Wilson,
The Victims,
James Chance & The Contortions,
The Remains,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Human League,
Trumans Water,
Juan Atkins,
Minnie Riperton,
The Modern Lovers,
Soft Machine,
Vladislav Delay,
the Human League,
Gil Scott-Heron & Brian Jackson,
Howard Jones,
Prince Buster,
London Community Gospel Choir,
Carl Craig,
Teenage Jesus and the Jerks,
Severed Heads,
Liaisons Dangereuses,
Spoonie Gee,
Chrome,
Sun City Girls,
Bizarre Inc.,
Con Funk Shun,
Shoche,
Mantronix,
The Slits,
Bobby Womack,
Bill Wells,
Pere Ubu,
PIL,
Joey Negro,
The Index,
Freddie Wadling,
Liliput,
Outsiders,
Skriet,
kango's stein massive,
Gichy Dan,
Eyeless In Gaza,
Notorious BIG live in Amsterdam,
Nico,
Soul Sonic Force,
The Dave Clark Five,
Colin Newman,
Cheater Slicks,
Be Bop Deluxe,
The Durutti Column,
Angry Samoans,
The New Christs, The New Christs, The New Christs, The New Christs.
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.