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 Canada and from Madrid.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Copenhagen and Bologna.
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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 Stockholm Monsters to the electroclash kids.
I played it at the Crocodile.
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 Kerrie Biddell. All the underground hits.
All The Fortunes tracks. I heard you have a vinyl of every Sister Nancy record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Zero Boys record.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
Junior Murvin,
Don Cherry,
Lee Hazlewood,
The Names,
The Count Five,
John Holt,
Malaria!,
The Pretty Things,
The Black Dice,
Yazoo,
Marine Girls,
The Doors,
The American Breed,
Amon Düül II,
Eli Mardock,
Hasil Adkins,
Eric Dolphy,
Radiohead,
Al Stewart,
Unrelated Segments,
Rhythm & Sound,
Parry Music,
Cameo,
Cymande,
The Saints,
Soft Cell,
Tubeway Army,
Japan,
Bronski Beat,
Nas,
Terrestrial Tones,
Q and Not U,
Strawberry Alarm Clock,
The Fugs,
kango's stein massive,
Echospace,
Harmonia,
Grey Daturas,
Gian Franco Pienzio,
Bill Wells,
Gang Green,
Mandrill,
Lou Reed & John Cale,
The Slackers,
The Misunderstood,
Rites of Spring,
The Gap Band,
Index,
DJ Style,
Bob Dylan,
De La Soul & Jungle Brothers,
Todd Terry,
The Index,
Ornette Coleman,
Surgeon,
the Germs,
Kango’s Stein Massive,
Minor Threat,
Subhumans,
Suicide,
Althea and Donna, Althea and Donna, Althea and Donna, Althea and Donna.
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.