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 Grenada and from Seoul.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Edmonton.
I'm losing my edge to the art-school Houston 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 1984 at the first Arcadia practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Lou Reed 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 Peter and Kerry to the grunge kids.
I played it at the Astoria.
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 Traffic Nightmare. All the underground hits.
All Judy Mowatt tracks. I heard you have a vinyl of every June of 44 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 '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Dennis Brown record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
OOIOO,
Faraquet,
The Barracudas,
Mark Hollis,
Nation of Ulysses,
Au Pairs,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Sly & The Family Stone,
Alice Coltrane,
Lee Hazlewood,
Camouflage,
Peter and Kerry,
Lakeside,
Infiniti,
Underground Resistance,
Basic Channel,
Rahsaan Roland Kirk,
Jesper Dahlback,
X-Ray Spex,
Nik Kershaw,
Sight & Sound,
Michelle Simonal,
Eurythmics,
Ultravox,
R.M.O.,
Gichy Dan,
The Dave Clark Five,
Bootsy Collins,
The Music Machine,
Arthur Verocai,
New Order,
The United States of America,
Tres Demented,
Wally Richardson,
Kerrie Biddell,
New Age Steppers,
Robert Hood,
Mission of Burma,
Metal Thangz,
The Buckinghams,
Black Sheep,
The Royal Family And The Poor,
Dark Day,
The Residents,
The Flesh Eaters,
Gabor Szabo,
Be Bop Deluxe,
Gian Franco Pienzio,
Groovy Waters,
Country Joe & The Fish,
Cabaret Voltaire,
Lungfish,
John Holt,
Harpers Bizarre,
Con Funk Shun,
Kas Product,
Los Fastidios,
Saccharine Trust,
Todd Terry,
The Birthday Party,
The Happenings,
Sexual Harrassment,
Thee Headcoats,
Scrapy, Scrapy, Scrapy, Scrapy.
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.