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 Philippines and from Edmonton.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Manchester and Manila.
I'm losing my edge to the art-school Jakarta 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 spring reverb sounds with much patience.
I was there when Holger Czukay 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 The Vogues to the electroclash kids.
I played it at the Roxy.
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 Fat Boys. All the underground hits.
All Minny Pops tracks. I heard you have a vinyl of every Outsiders 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 '70s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Marcia Griffiths record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fall,
The Monks,
Newcleus,
Fugazi,
Joy Division,
Kings Of Tomorrow,
Moebius,
Super Lover Cee & Casanova Rud,
Scientists,
Throbbing Gristle,
The Walker Brothers,
Camron Feat. Jay Z And Juelz,
The Zeros,
Vladislav Delay,
Tim Buckley,
Hardrive,
Scrapy,
48th St. Collective,
Judy Mowatt,
Hot Snakes,
Section 25,
the Human League,
Curtis Mayfield,
Franke,
Rod Modell,
Althea and Donna,
Depeche Mode,
Royal Trux,
Notorious Big And Bone Thugs,
Prince Buster,
Severed Heads,
The Invisible,
Flash Fearless,
David Bowie,
Lower 48,
Terry Callier,
Piero Umiliani,
Inner City,
The Motions,
Crispy Ambulance,
Lakeside,
The Wake,
Babytalk,
Selector Dub Narcotic,
Ultimate Spinach,
The Leaves,
Amon Düül II,
Ohio Players,
Television,
Ludus,
Masters at Work,
Bizarre Inc.,
Sparks,
Matthew Bourne,
The Jesus and Mary Chain,
Peter and Kerry,
The Slits,
The Moody Blues,
Glenn Branca,
Marmalade,
Shoche,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.