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 Hungary and from Mumbai.
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 1962 to 1976.
I'm losing my edge.
To all the kids in London and Winnipeg.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the snare 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 the Normal to the jazz 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 Drive Like Jehu. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every The Busters record on German import.
I heard that you have a white label of every seminal punk 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 harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Modern Lovers record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drexciya,
Gerry Rafferty,
Masters at Work,
Bobby Byrd,
Alton Ellis,
Dead Boys,
Wings,
Bluetip,
Bill Wells,
Howard Jones,
Buzzcocks,
Bad Manners,
Althea and Donna,
Rufus Thomas,
Cluster,
The Motions,
Magma,
La Düsseldorf,
Pussy Galore,
Lyres,
Mandrill,
the Normal,
Television Personalities,
Audionom,
Matthew Halsall,
Camron Feat. Memphis Bleek And Beenie Seigel,
Steve Hackett,
Tomorrow,
Lalann,
Johnny Osbourne,
Minny Pops,
Hot Snakes,
Grauzone,
Heavy D & The Boyz,
The Barracudas,
Oneida,
Soft Cell,
The Birthday Party,
Deutsch Amerikanische Freundschaft,
The Monochrome Set,
Tears for Fears,
The Durutti Column,
Little Man,
The Gladiators,
Hashim,
Byron Stingily,
D'Angelo,
Davy DMX,
Joy Division,
DNA,
Anakelly,
The Sonics,
Rosa Yemen,
The Blues Magoos,
Ultramagnetic MC's,
Moby Grape,
Sad Lovers and Giants,
Siouxsie and the Banshees,
The Cowsills,
Beasts of Bourbon,
Infiniti,
Moebius,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.