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 Togo and from Madrid.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Salvador and Accra.
I'm losing my edge to the art-school Manila 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Whodini to the electroclash kids.
I played it at Cafe Wha.
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 Yellowson. All the underground hits.
All Deutsch Amerikanische Freundschaft tracks. I heard you have a vinyl of every Bluetip record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a T.S.O.L. record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marcia Griffiths,
Grandmaster Flash,
Dorothy Ashby,
The Music Machine,
Louis and Bebe Barron,
Bluetip,
Godley & Creme,
A Flock of Seagulls,
Grandmaster Flash and the Furious Five,
Shoche,
the Normal,
Con Funk Shun,
Television,
John Lydon,
Japan,
Robert Hood,
Stockholm Monsters,
Arab on Radar,
The Velvet Underground,
John Holt,
Parry Music,
Popol Vuh,
Captain Beefheart & His Magic Band,
Minutemen,
Lyres,
The Mojo Men,
The Slits,
The Slackers,
The Gun Club,
Inner City,
Animal Collective,
Lonnie Liston Smith,
Electric Light Orchestra,
Jacob Miller,
Main Source,
Von Mondo,
Crispian St. Peters,
Strawberry Alarm Clock,
Soul II Soul,
Wasted Youth,
E-Dancer,
Thompson Twins,
Bill Near,
The Seeds,
Ronan,
Bad Manners,
Audionom,
Bizarre Inc.,
a-ha,
Rakim,
Chrome,
Ohio Players,
Kas Product,
Quando Quango,
Jesper Dahlbäck,
Bang on a Can All-Stars,
Warren Ellis,
Pole,
Skarface,
Eddi Front,
cv313,
The Shadows of Knight, The Shadows of Knight, The Shadows of Knight, The Shadows of Knight.
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.