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 Iran and from Salvador.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Manila and Tokyo.
I'm losing my edge to the art-school Tehran 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 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 Subhumans to the rock 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 Lou Reed & John Cale. All the underground hits.
All David McCallum tracks. I heard you have a vinyl of every Röyhkä ja Rättö ja Lehtisalo record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Eric Copeland 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?
Bill Near,
Ken Boothe,
The Sisters of Mercy,
Absolute Body Control,
Nirvana,
Kool G Rap & DJ Polo,
T. Rex,
ABBA,
Girls At Our Best!,
It's A Beautiful Day,
Yusef Lateef,
La Düsseldorf,
Pharoah Sanders,
Nation of Ulysses,
Agitation Free,
X-Ray Spex,
Marmalade,
AZ,
The Fuzztones,
The Motions,
The Angels of Light,
The Gun Club,
The Seeds,
Sällskapet,
The Last Poets,
Minnie Riperton,
Gichy Dan,
Gabor Szabo,
Lindisfarne,
Slick Rick,
Joe Smooth,
Bobby Byrd,
Thee Headcoats,
Joy Division,
The United States of America,
the Human League,
Liaisons Dangereuses,
Charles Mingus,
Marcia Griffiths,
The Remains,
Siouxsie and the Banshees,
Howard Jones,
The Gories,
The Kinks,
Oblivians,
Soft Machine,
Severed Heads,
The Golliwogs,
The Cowsills,
Goldenarms,
Gil Scott-Heron & Brian Jackson,
The Index,
Oneida,
The Pop Group,
Neil Young,
Cecil Taylor,
Fela Kuti,
Dawn Penn,
Harpers Bizarre,
Ohio Players,
The Standells,
Susan Cadogan, Susan Cadogan, Susan Cadogan, Susan Cadogan.
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.