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 Lebanon and from Mumbai.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Columbus.
I'm losing my edge to the art-school Lyon 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 harpsichord 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 Delon & Dalcan to the punk kids.
I played it at the Hacienda.
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 Deadbeat. All the underground hits.
All Bob Dylan tracks. I heard you have a vinyl of every Depeche Mode record on German import.
I heard that you have a white label of every seminal techno 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 clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Red Lorry Yellow Lorry record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stetsasonic,
Isaac Hayes,
The Gun Club,
Malaria!,
The Gladiators,
Hashim,
Boogie Down Productions,
Nas,
Matthew Bourne,
Cabaret Voltaire,
Skarface,
Black Flag,
Iggy Pop,
Sugar Minott,
Soul Sonic Force,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Siouxsie and the Banshees,
B.T. Express,
The Young Rascals,
The Knickerbockers,
X-101,
Delon & Dalcan,
Prince Buster,
Barbara Tucker,
Rhythim Is Rhythim,
Strawberry Alarm Clock,
Jandek,
The Birthday Party,
Grandmaster Flash,
Lee Hazlewood,
The Red Krayola,
Arab on Radar,
Spandau Ballet,
Rites of Spring,
Slick Rick,
Toni Rubio,
Alphaville,
The Star Department,
Loose Ends,
The Searchers,
Technova,
Sun Ra,
FM Einheit,
a-ha,
The American Breed,
Eric Copeland,
Crash Course in Science,
Country Joe & The Fish,
X-Ray Spex,
Sunsets and Hearts,
Roxette,
Buzzcocks,
The Mojo Men,
Selector Dub Narcotic,
Whodini,
Radio Birdman,
Black Bananas,
Stereo Dub,
Ten City,
Bootsy's Rubber Band,
the Fania All-Stars,
PIL,
Mandrill,
The Trojans, The Trojans, The Trojans, The Trojans.
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.