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 Italy and from Lyon.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1975.
I'm losing my edge.
To all the kids in Beijing and Sao Paulo.
I'm losing my edge to the art-school Tokyo 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 sitar 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 The Modern Lovers to the dance kids.
I played it at the Astoria.
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 Robert Görl. All the underground hits.
All Joy Division tracks. I heard you have a vinyl of every Jacob Miller record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sandy B,
K-Klass,
Louis and Bebe Barron,
Isaac Hayes,
Joy Division,
Marc Romboy vs. Booka Shade,
Hashim,
Barrington Levy,
Pere Ubu,
The Toasters,
Nils Olav,
Stereo Dub,
Metal Thangz,
Mary Jane Girls,
The Star Department,
Art Ensemble Of Chicago,
Alton Ellis,
Thinking Fellers Union Local 282,
Soft Machine,
Spandau Ballet,
Radiohead,
Cheater Slicks,
Sun Ra Arkestra,
James White and The Blacks,
Echospace,
The Mighty Diamonds,
The Jesus and Mary Chain,
The Royal Family And The Poor,
The Blues Magoos,
The Saints,
Avey Tare's Slasher Flicks,
Maurizio,
Pantaleimon,
The Tremeloes,
Strawberry Alarm Clock,
Lindisfarne,
Traffic Nightmare,
Bob Dylan,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Moleskins,
Eyeless In Gaza,
Beasts of Bourbon,
Sun City Girls,
Shoche,
Albert Ayler,
Y Pants,
The Sound,
Intrusion,
The Velvet Underground,
Radiopuhelimet,
The Invisible,
Motorama,
Glenn Branca,
kango's stein massive,
Crash Course in Science,
Bluetip,
The New Christs,
The Smoke,
Sällskapet,
Maleditus Sound,
Toni Rubio,
Scratch Acid, Scratch Acid, Scratch Acid, Scratch Acid.
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.