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 Bolivia and from London.
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 1979.
I'm losing my edge.
To all the kids in Stockholm and Milan.
I'm losing my edge to the art-school Sao Paulo 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 1978 at the first Visage practice in a loft in London.
I was working on the guitar 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 Stetsasonic 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 The Fortunes. All the underground hits.
All The Smiths tracks. I heard you have a vinyl of every The Skatalites record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Vaughan Mason & Crew record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cameo,
Oblivians,
Half Japanese,
Crime,
The Residents,
Prince Buster,
Jimmy McGriff,
Ohio Players,
Amon Düül II,
Roxette,
8 Eyed Spy,
David Bowie,
Flipper,
Dawn Penn,
Suicide,
the Soft Cell,
The Beau Brummels,
Kings Of Tomorrow,
Pulsallama,
Robert Görl,
Joy Division,
Neil Young & Crazy Horse,
Sight & Sound,
Brick,
Pete Rock & C.L. Smooth,
Lightning Bolt,
Lizzy Mercier Descloux,
The Modern Lovers,
Flamin' Groovies,
Aaron Thompson,
Ponytail,
Essential Logic,
Bobby Hutcherson,
Alton Ellis,
James Chance & The Contortions,
Duran Duran,
Avey Tare's Slasher Flicks,
a-ha,
Gabor Szabo,
The Barracudas,
Ronan,
Gastr Del Sol,
Avey Tare & Kría Brekkan,
Terrestrial Tones,
John Holt,
Desert Stars,
Soul Sonic Force,
Swell Maps,
Babytalk,
Vainqueur,
Bobby Sherman,
Danielle Patucci,
The Walker Brothers,
D'Angelo,
Massinfluence,
Funkadelic,
Gang Green,
Shuggie Otis,
Siglo XX,
Nation of Ulysses,
Pagans,
Tommy Roe,
Mark Hollis,
Quantec, Quantec, Quantec, Quantec.
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.