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 Ecuador and from Bremen.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Salvador and Edmonton.
I'm losing my edge to the art-school Sao Paulo 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the guitar sounds with much patience.
I was there when Michael McDonald 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 Au Pairs to the crunk kids.
I played it at Trash.
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 Youth Brigade. All the underground hits.
All Mars tracks. I heard you have a vinyl of every Be Bop Deluxe 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 '70s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Trojans record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spandau Ballet,
Graham Central Station,
Gang Gang Dance,
Sonny Sharrock,
Gichy Dan,
Rhythim Is Rhythim,
Liaisons Dangereuses,
The Sonics,
Jesper Dahlbäck,
Tomorrow,
Lungfish,
Ralphi Rosario,
The West Coast Pop Art Experimental Band,
Chrome,
Ronan,
Isaac Hayes,
Von Mondo,
Howard Jones,
John Lydon,
Lebanon Hanover,
Pylon,
Amon Düül,
T. Rex,
Symarip,
Can,
Gil Scott Heron,
It's A Beautiful Day,
Minor Threat,
Bill Near,
Faraquet,
Patti Smith,
Gian Franco Pienzio,
Andrew Hill,
Sound Behaviour,
Kayak,
Index,
Reuben Wilson,
Trumans Water,
Lou Christie,
Man Parrish,
Brand Nubian,
The Gladiators,
F. McDonald,
Amon Düül II,
Lalann,
The Move,
48th St. Collective,
Siglo XX,
Larry & the Blue Notes,
Slave,
The Slackers,
Orchestral Manoeuvres in the Dark,
Peter & Gordon,
Public Image Ltd.,
The Trojans,
Lucky Dragons,
Roy Ayers Ubiquity,
Fear,
Mission of Burma,
Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale.
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.