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 Australia and from Halifax.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Seoul and Lille.
I'm losing my edge to the art-school Salvador 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 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 Thompson Twins 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 The Alarm Clocks. All the underground hits.
All Kenny Larkin tracks. I heard you have a vinyl of every Absolute Body Control 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 '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Motions 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?
The Buckinghams,
Accadde A,
Newcleus,
Thinking Fellers Union Local 282,
Little Man,
John Lydon,
The West Coast Pop Art Experimental Band,
H. Thieme,
Chrome,
Royal Trux,
Simply Red,
Barry Ungar,
Anthony Braxton,
Echospace,
Stereo Dub,
The Electric Prunes,
Ken Boothe,
Patti Smith,
Deepchord,
Black Sheep,
Andrew Ashong & Theo Parrish,
Flipper,
Ajijia Myrayebe,
David Bowie,
Massinfluence,
Lou Reed & Metallica,
Hoover,
Siouxsie and the Banshees,
Ultra Naté,
Quando Quango,
One Last Wish,
Inner City,
World's Most,
T.S.O.L.,
The Grass Roots,
Eli Mardock,
Rowland S Howard / Lydia Lunch,
Roy Ayers Ubiquity,
Eden Ahbez,
DNA,
Khruangbin,
The Mojo Men,
Glenn Branca,
Teenage Jesus and the Jerks,
Crime,
K-Klass,
Lou Reed,
Brick,
F. McDonald,
The Motions,
The Flesh Eaters,
Fluxion,
Neil Young,
Glambeats Corp.,
Wighnomy Brothers & Robag Wruhme,
Fifty Foot Hose,
The Smiths,
Wire,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sticky Fingaz feat. Raekwon,
Deutsch Amerikanische Freundschaft,
Crooked Eye,
AZ, AZ, AZ, AZ.
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.