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 Sudan and from Edmonton.
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 1977.
I'm losing my edge.
To all the kids in Glasgow and Tehran.
I'm losing my edge to the art-school Woodstock 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 at the first Suicide practice in a loft in New York.
I was working on the guitar sounds with much patience.
I was there when Robert Palmer 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 Gil Scott-Heron & Brian Jackson to the disco kids.
I played it at CBGB's.
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 the Bar-Kays. All the underground hits.
All Siouxsie and the Banshees tracks. I heard you have a vinyl of every Negative Approach record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Happenings record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sarah Menescal,
Orchestral Manoeuvres in the Dark,
Joy Division,
The J.B.'s,
Eden Ahbez,
Oneida,
Minor Threat,
The Last Poets,
Cameo,
Public Image Ltd.,
Reuben Wilson,
Don Cherry,
Qualms,
Gian Franco Pienzio,
T. Rex,
Stetsasonic,
Skarface,
Alton Ellis,
Bootsy's Rubber Band,
Thinking Fellers Union Local 282,
The Standells,
Tomorrow,
Siglo XX,
Bizarre Inc.,
The Sound,
The Real Kids,
Gary Puckett & The Union Gap,
Yazoo,
Marmalade,
Jacob Miller,
Laurel Aitken,
The Music Machine,
Josef K,
Popol Vuh,
Freddie Wadling,
Sonic Youth,
Gregory Isaacs,
Supertramp,
Godley & Creme,
Roy Ayers Ubiquity,
Jeff Lynne,
Lucky Dragons,
Judy Mowatt,
The Gories,
Index,
Schoolly D,
Swell Maps,
Super Lover Cee & Casanova Rud,
Flash Fearless,
The Black Dice,
The Wake,
Pete Rock & C.L. Smooth,
Joensuu 1685,
Goldenarms,
The Smoke,
B.T. Express,
The Blues Magoos,
Harmonia,
Lalann,
ABBA,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.