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 Kyrgyzstan and from Manchester.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Hong Kong and Lyon.
I'm losing my edge to the art-school Seoul 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the organ 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 DeepChord presents Echospace to the electroclash 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 Marine Girls. All the underground hits.
All Kayak tracks. I heard you have a vinyl of every Fela Kuti record on German import.
I heard that you have a white label of every seminal disco 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 a guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Curtis Mayfield record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash and the Furious Five,
The New Christs,
Maleditus Sound,
Urselle,
Panda Bear,
Popol Vuh,
The Martian,
Althea and Donna,
X-Ray Spex,
Cal Tjader,
The Beau Brummels,
Wolf Eyes,
Sex Pistols,
The Gun Club,
Rufus Thomas,
Reagan Youth,
The Zeros,
Ralphi Rosario,
Andrew Ashong & Theo Parrish,
Kerrie Biddell,
Orchestral Manoeuvres in the Dark,
K-Klass,
Model 500,
Unwound,
Audionom,
Nils Olav,
Heavy D & The Boyz,
Underground Resistance,
LL Cool J,
Marc Romboy vs. Booka Shade,
Agent Orange,
Stetsasonic,
Sandy B,
Black Flag,
Jawbox,
The Grass Roots,
Stiv Bators,
Gil Scott Heron,
Robert Hood,
Stereo Dub,
Half Japanese,
Rapeman,
Skaos,
DJ Sneak,
Cymande,
Royal Trux,
Magazine,
The Pop Group,
Nico,
Absolute Body Control,
Bob Dylan,
The Dead C,
PIL,
Motorama,
Deadbeat,
Lou Christie,
Jeff Lynne,
Pere Ubu,
John Foxx,
Flash Fearless,
The Sisters of Mercy,
Loose Ends,
Pussy Galore, Pussy Galore, Pussy Galore, Pussy Galore.
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.