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 Australia and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Lagos and Houston.
I'm losing my edge to the art-school Madrid 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 organ 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 Von Mondo to the punk 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 Country Teasers. All the underground hits.
All Quando Quango tracks. I heard you have a vinyl of every New York Dolls 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 '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Faraquet record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharaoh Sanders and the Fire Engines,
Bronski Beat,
The Sound,
Ossler,
Connie Case,
Eric Dolphy,
Thinking Fellers Union Local 282,
Neu!,
Nick Fraelich,
World's Most,
Theoretical Girls,
James White and The Blacks,
K-Klass,
The Velvet Underground,
New Age Steppers,
A Flock of Seagulls,
Country Teasers,
Loose Ends,
Deadbeat,
Man Eating Sloth,
Jeff Lynne,
Chris & Cosey,
The Fire Engines,
D'Angelo,
Oppenheimer Analysis,
Marcia Griffiths,
Stockholm Monsters,
The Monochrome Set,
Blancmange,
Lindisfarne,
Aswad,
The Men They Couldn't Hang,
The Dead C,
The Pretty Things,
Public Enemy,
The Fuzztones,
Sad Lovers and Giants,
Byron Stingily,
The Barracudas,
Oneida,
Lou Reed & John Cale,
Steve Hackett,
Eve St. Jones,
The Evens,
Avey Tare's Slasher Flicks,
Sarah Menescal,
The Gories,
Marshall Jefferson,
Orchestral Manoeuvres in the Dark,
Trumans Water,
Robert Görl,
Youth Brigade,
X-Ray Spex,
Basic Channel,
Rosa Yemen,
Camron Feat. Memphis Bleek And Beenie Seigel,
Echo & the Bunnymen,
Can,
The New Christs,
Infiniti,
Aloha Tigers,
Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra.
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.