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 Azerbaijan and from Stockholm.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1976.
I'm losing my edge.
To all the kids in Delhi and Houston.
I'm losing my edge to the art-school Mexico City 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 marimba 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 Dead Boys to the jazz kids.
I played it at the Troubador.
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 Sun City Girls. All the underground hits.
All Icehouse tracks. I heard you have a vinyl of every Be Bop Deluxe record on German import.
I heard that you have a white label of every seminal dance 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 linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Procol Harum record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Adolescents,
DJ Style,
Be Bop Deluxe,
Schoolly D,
Blake Baxter,
Joy Division,
the Normal,
The Index,
Gang Gang Dance,
Henry Cow,
Ossler,
David Bowie,
EPMD,
the Sonics,
Barbara Tucker,
Minor Threat,
The Monks,
Sexual Harrassment,
Underground Resistance,
Trumans Water,
Pharoah Sanders,
Interpol,
X-102,
Mark Hollis,
Johnny Osbourne,
Moby Grape,
Tropical Tobacco,
Lyres,
The Dirtbombs,
Todd Terry,
Delta 5,
The Dave Clark Five,
Barclay James Harvest,
Piero Umiliani,
Howard Jones,
Black Sheep,
Selector Dub Narcotic,
Sun City Girls,
Guru Guru,
The Smoke,
Laurel Aitken,
Saccharine Trust,
The Misunderstood,
U.S. Maple,
Stockholm Monsters,
L. Decosne,
Eric B and Rakim,
Easy Going,
Kerrie Biddell,
Bobby Byrd,
Dual Sessions,
New Order,
Bad Manners,
Eric Copeland,
Matthew Bourne,
Arab on Radar,
La Düsseldorf,
The Electric Prunes,
Tubeway Army,
Scott Walker + Sunn O))),
The Searchers,
B.T. Express, B.T. Express, B.T. Express, B.T. Express.
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.