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 the UAE and from Sao Paulo.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Columbus and Glasgow.
I'm losing my edge to the art-school Glasgow 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 mellotron 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 Sarah Menescal to the jazz kids.
I played it at the Troubador.
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 LL Cool J. All the underground hits.
All The Names tracks. I heard you have a vinyl of every The Vogues record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
London Community Gospel Choir,
Glenn Branca,
Liaisons Dangereuses,
Porter Ricks,
Connie Case,
T. Rex,
The Men They Couldn't Hang,
Shoche,
Letta Mbulu,
Röyhkä ja Rättö ja Lehtisalo,
The Sisters of Mercy,
Inner City,
One Last Wish,
Sarah Menescal,
Roy Ayers,
David McCallum,
Lucky Dragons,
Easy Going,
Fat Boys,
Niagra,
Man Eating Sloth,
Make Up,
Deepchord,
Freddie Wadling,
Funkadelic,
Fluxion,
The Fall,
Amon Düül II,
Andrew Ashong & Theo Parrish,
Neil Young & Crazy Horse,
Warsaw,
Gil Scott Heron,
The Techniques,
The Stooges,
Bill Wells,
ABBA,
Kas Product,
Tears for Fears,
Chrome,
The Victims,
Skriet,
The J.B.'s,
Blake Baxter,
Moebius,
The Pretty Things,
John Cale,
Monolake,
Arcadia,
Main Source,
The Walker Brothers,
The Black Dice,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ohio Players,
Rapeman,
Ossler,
Fifty Foot Hose,
Darondo,
Soft Cell,
Kenny Larkin,
Cluster,
Radiohead,
The Blues Magoos,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.