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 Japan and from Columbus.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1972.
I'm losing my edge.
To all the kids in Taipei and Lagos.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the linndrum sounds with much patience.
I was there when David Bowie 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 MDC to the punk kids.
I played it at the 40 Watt.
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 These Immortal Souls. All the underground hits.
All Bush Tetras tracks. I heard you have a vinyl of every Arab on Radar 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 '80s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman 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?
Brand Nubian,
Scratch Acid,
Sam Rivers,
The Selecter,
DeepChord presents Echospace,
The Birthday Party,
DNA,
Stereo Dub,
T.S.O.L.,
Alphaville,
Little Man,
Jacob Miller,
Todd Rundgren,
Reuben Wilson,
The Black Dice,
De La Soul & Jungle Brothers,
Eurythmics,
Bush Tetras,
Wighnomy Brothers & Robag Wruhme,
Echospace,
A Flock of Seagulls,
Banda Bassotti,
Motorama,
The Smiths,
Sad Lovers and Giants,
Pete Rock & C.L. Smooth,
Thompson Twins,
Agent Orange,
Public Enemy,
Spandau Ballet,
Duran Duran,
The Litter,
Scrapy,
Man Parrish,
Colin Newman,
The Saints,
Archie Shepp,
Neu!,
Intrusion,
Peter and Kerry,
Amazonics,
Pere Ubu,
The Star Department,
Kayak,
48th St. Collective,
Alison Limerick,
Tommy Roe,
Liaisons Dangereuses,
Ajijia Myrayebe,
Camouflage,
The Knickerbockers,
Kas Product,
Erasure,
Joensuu 1685,
Kerrie Biddell,
Sixth Finger,
Sandy B,
Rufus Thomas,
Technova, Technova, Technova, Technova.
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.