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 Equatorial Guinea and from Winnipeg.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Sao Paulo and Madrid.
I'm losing my edge to the art-school Lagos 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 1978 at the first Visage practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Holger Czukay 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 Beau Brummels to the dance kids.
I played it at the Crocodile.
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 Archie Shepp. All the underground hits.
All cv313 tracks. I heard you have a vinyl of every Andrew Ashong & Theo Parrish record on German import.
I heard that you have a white label of every seminal grunge 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 linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Section 25,
Ultravox,
Livin' Joy,
The Black Dice,
Mad Mike,
Infiniti,
Minor Threat,
The Litter,
Yellowson,
Peter Gordon & Love of Life Orchestra,
June Days,
Oppenheimer Analysis,
Pharaoh Sanders and the Fire Engines,
Fugazi,
Soulsonic Force,
Nick Fraelich,
Man Eating Sloth,
UT,
Theoretical Girls,
Porter Ricks,
John Coltrane,
The Names,
The Music Machine,
Barry Ungar,
Davy DMX,
Maleditus Sound,
Animal Collective,
Anthony Braxton,
New Order,
Gabor Szabo,
Art Ensemble Of Chicago,
Urselle,
Easy Going,
X-Ray Spex,
The Happenings,
Joyce Sims,
Alphaville,
Fela Kuti,
The Moleskins,
The Cure,
Donny Hathaway,
Avey Tare,
Rowland S Howard / Lydia Lunch,
Dead Boys,
Soft Machine,
Tears for Fears,
Sonic Youth,
Dorothy Ashby,
Nirvana,
Q65,
Delta 5,
B.T. Express,
Sun Ra Arkestra,
Tropical Tobacco,
Grandmaster Flash,
Newcleus,
Schoolly D,
The Sonics,
Alton Ellis,
Boogie Down Productions,
Bronski Beat,
Freddie Wadling,
Robert Görl,
Symarip, Symarip, Symarip, Symarip.
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.