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 Mexico City.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Shanghai and Philadelphia.
I'm losing my edge to the art-school Lille 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 1978 at the first Visage practice in a loft in London.
I was working on the spring reverb 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 Notorious BIG live in Amsterdam to the grime kids.
I played it at the 40 Watt.
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 Mr. Review. All the underground hits.
All Siglo XX tracks. I heard you have a vinyl of every Electric Light Orchestra 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 '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Audionom record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Echo & the Bunnymen,
Terror Squad Feat. Camron,
Warren Ellis,
Brick,
Robert Wyatt,
Avey Tare,
Massinfluence,
Bobby Hutcherson,
Derrick May,
Nils Olav,
Dennis Brown,
Mary Jane Girls,
Amazonics,
Royal Trux,
Sister Nancy,
Pharaoh Sanders and the Fire Engines,
The Alarm Clocks,
Kool Moe Dee,
Aswad,
Eurythmics,
The Index,
Shoche,
John Coltrane,
The Black Dice,
DJ Style,
Donald Byrd,
The Dead C,
T.S.O.L.,
UT,
the Sonics,
Flipper,
Television,
Albert Ayler,
Yellowson,
Man Eating Sloth,
The Neon Judgement,
Anthony Braxton,
The Motions,
Lafayette Afro Rock Band,
June Days,
The Monks,
Godley & Creme,
Bobby Byrd,
JFA,
FM Einheit,
Bauhaus,
Niagra,
The Smiths,
The Gories,
Archie Shepp,
The Doobie Brothers,
Soul Sonic Force,
Drive Like Jehu,
James White and The Blacks,
Kauko Röyhkä ja Narttu,
Black Flag,
Jacques Brel,
Ash Ra Tempel,
Magazine, Magazine, Magazine, Magazine.
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.