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 Benin and from Seoul.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Salvador and Halifax.
I'm losing my edge to the art-school Manchester 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 Wire practice in a loft in Watford.
I was working on the oboe 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 Echo & the Bunnymen to the electroclash kids.
I played it at Trash.
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 James Chance & The Contortions. All the underground hits.
All The J.B.'s tracks. I heard you have a vinyl of every X-101 record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Ronan record.
I hear that you and your band have sold your chamberlin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pere Ubu,
Gastr Del Sol,
Josef K,
Mission of Burma,
Aaron Thompson,
Ultramagnetic MC's,
Idris Muhammad,
Aloha Tigers,
Audionom,
Groovy Waters,
Lee Hazlewood,
Nils Olav,
Radiopuhelimet,
Soulsonic Force,
Aswad,
Nik Kershaw,
Brothers Johnson,
Hoover,
B.T. Express,
Zero Boys,
Don Cherry,
Sunsets and Hearts,
Shoche,
Little Man,
Camouflage,
X-101,
Visage,
Glambeats Corp.,
Dual Sessions,
Traffic Nightmare,
Bobbi Humphrey,
Grauzone,
Graham Central Station,
Soft Machine,
Ash Ra Tempel,
48th St. Collective,
Duran Duran,
Bang on a Can All-Stars,
London Community Gospel Choir,
Janne Schatter,
Cameo,
Ronan,
Soul Sonic Force,
K-Klass,
James White and The Blacks,
The Young Rascals,
Kaleidoscope,
Matthew Bourne,
The Cowsills,
Todd Terry,
Yusef Lateef,
Tommy Roe,
The Evens,
CMW,
Agitation Free,
Grandmaster Flash and the Furious Five,
It's A Beautiful Day,
The Modern Lovers,
Big Daddy Kane,
Fela Kuti,
Manfred Mann's Earth Band,
Mandrill, Mandrill, Mandrill, Mandrill.
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.