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 Cyprus and from Copenhagen.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Mumbai and Johannesburg.
I'm losing my edge to the art-school Jakarta 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the spring reverb 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 Heaven 17 to the punk kids.
I played it at the Hacienda.
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 New Order. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every Stetsasonic record on German import.
I heard that you have a white label of every seminal funk 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 chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Sister Nancy record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oneida,
Index,
Fatback Band,
Barry Ungar,
Boredoms,
Lyres,
The Smoke,
Public Image Ltd.,
Roy Ayers,
The Happenings,
Davy DMX,
Eric Copeland,
The Peanut Butter Conspiracy,
Animal Collective,
Brothers Johnson,
Neil Young & Crazy Horse,
Sonic Youth,
Camouflage,
Minny Pops,
Whodini,
Con Funk Shun,
Sun Ra,
Crash Course in Science,
Urselle,
The Dave Clark Five,
Depeche Mode,
Angels of Light & Akron/Family,
The J.B.'s,
Bronski Beat,
A Certain Ratio,
Bang on a Can All-Stars,
Bang On A Can,
Wasted Youth,
F. McDonald,
Deadbeat,
Dorothy Ashby,
Oppenheimer Analysis,
The New Christs,
Rakim,
Trumans Water,
Sarah Menescal,
Soft Cell,
Kurtis Blow,
The Fall,
The Flesh Eaters,
Guru Guru,
AZ,
The Stooges,
the Soft Cell,
Wings,
Erasure,
Reagan Youth,
Intrusion,
June Days,
La Düsseldorf,
Fugazi,
Aural Exciters,
Fela Kuti,
Richard Hell and the Voidoids,
The Real Kids,
The Skatalites,
Swans, Swans, Swans, Swans.
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.