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 Eritrea and from Mumbai.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Lagos and New York.
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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the chamberlin 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 The Neon Judgement to the electroclash 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 Eurythmics. All the underground hits.
All Brothers Johnson tracks. I heard you have a vinyl of every Danielle Patucci record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Buzzcocks record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
X-101,
Hot Snakes,
Radiohead,
Wolf Eyes,
Supertramp,
Organ,
Inner City,
Kurtis Blow,
June of 44,
The Cure,
The Count Five,
Pharaoh Sanders and the Fire Engines,
Kango’s Stein Massive,
Pagans,
Stockholm Monsters,
Ultramagnetic MC's,
Stiv Bators,
Procol Harum,
Joe Smooth,
The Mummies,
Maleditus Sound,
Gil Scott-Heron and Jamie xx,
Crispy Ambulance,
Suburban Knight,
Flipper,
Toni Rubio,
Adolescents,
The Red Krayola,
Lucky Dragons,
Johnny Osbourne,
Stetsasonic,
John Cale,
Yellowson,
The Move,
Marine Girls,
London Community Gospel Choir,
Lightning Bolt,
Marvin Gaye,
The Doobie Brothers,
Sun Ra Arkestra,
Sound Behaviour,
Alison Limerick,
Gastr Del Sol,
Trumans Water,
Lizzy Mercier Descloux,
Fort Wilson Riot,
FM Einheit,
Masters at Work,
The Real Kids,
Dead Boys,
The Slits,
Man Eating Sloth,
The United States of America,
Anthony Braxton,
Ash Ra Tempel,
Siouxsie and the Banshees,
Lou Reed & Metallica,
Tom Boy,
LL Cool J,
Brick,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.