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 Brazil and from Salvador.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Salvador and Spokane.
I'm losing my edge to the art-school Mexico City 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 rhodes 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 Agent Orange to the grime kids.
I played it at the Troubador.
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 Public Image Ltd.. All the underground hits.
All Severed Heads tracks. I heard you have a vinyl of every Gary Puckett & The Union Gap record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Mars record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tomorrow,
Jerry Gold Smith,
Eric Copeland,
Avey Tare,
Gang Starr,
Scan 7,
Ralphi Rosario,
The J.B.'s,
Marmalade,
The Slits,
Gabor Szabo,
Black Bananas,
Rod Modell,
The Durutti Column,
The Pop Group,
Adolescents,
Joy Division,
Audionom,
Andrew Hill,
K-Klass,
Lou Christie,
Man Eating Sloth,
The Beau Brummels,
James White and The Blacks,
Kevin Saunderson,
The Cosmic Jokers,
The Detroit Cobras,
X-Ray Spex,
Deutsch Amerikanische Freundschaft,
Crime,
Los Fastidios,
In Retrospect,
Ronnie Foster,
Eli Mardock,
cv313,
The Buckinghams,
L. Decosne,
Kas Product,
MC5,
The New Christs,
Joensuu 1685,
The Shadows of Knight,
Underground Resistance,
A Certain Ratio,
Al Stewart,
The Count Five,
Tom Boy,
Magazine,
Mad Mike,
Heaven 17,
Technova,
Eden Ahbez,
Easy Going,
Motorama,
The Five Americans,
Theoretical Girls,
Sixth Finger,
Spoonie Gee,
Soul II Soul, Soul II Soul, Soul II Soul, Soul II Soul.
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.