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 Bulgaria and from Shanghai.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Tehran.
I'm losing my edge to the art-school Mumbai 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 synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Buzzcocks to the punk kids.
I played it at the Troubador.
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 Neil Young. All the underground hits.
All Joyce Sims tracks. I heard you have a vinyl of every Ajijia Myrayebe record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Victims record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ohio Players,
The Electric Prunes,
Blossom Toes,
Eddi Front,
8 Eyed Spy,
Mary Jane Girls,
E-Dancer,
D'Angelo,
Talk Talk,
Steve Hackett,
The Seeds,
Crispy Ambulance,
Michelle Simonal,
Chrome,
Susan Cadogan,
Jeff Mills,
John Cale,
Neil Young & Crazy Horse,
Ludus,
Sam Rivers,
Visage,
Siouxsie and the Banshees,
Bob Dylan,
Suburban Knight,
The Five Americans,
Kool Moe Dee,
Danielle Patucci,
Rakim,
The Red Krayola,
James Chance & The Contortions,
Althea and Donna,
Yazoo,
Parry Music,
June of 44,
Selector Dub Narcotic,
the Slits,
Eric Copeland,
Franke,
The Doors,
Dual Sessions,
Vaughan Mason & Crew,
Cecil Taylor,
The Young Rascals,
Basic Channel,
Rekid,
A Certain Ratio,
Maleditus Sound,
The Fire Engines,
Agent Orange,
The Standells,
The Mighty Diamonds,
The Moody Blues,
Charles Mingus,
This Heat,
The Durutti Column,
Masters at Work,
Minor Threat,
Gichy Dan,
Sticky Fingaz feat. Raekwon,
Nik Kershaw,
Vladislav Delay,
Jawbox, Jawbox, Jawbox, Jawbox.
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.