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 Kuwait and from Manchester.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Lille and Spokane.
I'm losing my edge to the art-school Manchester 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 Donald Fagen 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 Red Lorry Yellow Lorry 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 Slits. All the underground hits.
All PIL tracks. I heard you have a vinyl of every Patti Smith 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 '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad record.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & Metallica,
Marc Romboy vs. Booka Shade,
Rosa Yemen,
The Evens,
F. McDonald,
Rhythim Is Rhythim,
Gregory Isaacs,
The New Christs,
Byron Stingily,
The Count Five,
Laurel Aitken,
Joensuu 1685,
The Fortunes,
Throbbing Gristle,
Sun Ra Arkestra,
Organ,
The Associates,
Ice-T,
Lafayette Afro Rock Band,
Richard Hell and the Voidoids,
Robert Wyatt,
Second Layer,
Soul II Soul,
Mantronix,
Motorama,
The West Coast Pop Art Experimental Band,
Index,
Guru Guru,
Isaac Hayes,
The Fuzztones,
Dr. Dre and Snoop Doggy Dog,
Kool G Rap & DJ Polo,
Drexciya,
Grauzone,
Interpol,
Iggy Pop,
Lonnie Liston Smith,
Visage,
Pete Rock & C.L. Smooth,
Pantaleimon,
cv313,
Fort Wilson Riot,
Oppenheimer Analysis,
The Barracudas,
The Smoke,
Roger Hodgson,
Jeff Lynne,
H. Thieme,
Shuggie Otis,
Magma,
Michelle Simonal,
The Blues Magoos,
Sister Nancy,
Dual Sessions,
Peter Gordon & Love of Life Orchestra,
48th St. Collective,
Black Bananas,
Kerrie Biddell,
Subhumans,
New Order,
Loose Ends,
Funkadelic,
Dead Boys, Dead Boys, Dead Boys, Dead Boys.
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.