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 Mongolia and from Calgary.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 Jakarta and Taipei.
I'm losing my edge to the art-school Edmonton 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 synthesizer 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 Fort Wilson Riot to the techno kids.
I played it at the Spitz.
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 Ultra Naté. All the underground hits.
All Johnny Clarke tracks. I heard you have a vinyl of every the Association record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Hashim record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
Faust,
Oppenheimer Analysis,
Captain Beefheart & His Magic Band,
Black Sheep,
Amon Düül II,
Michelle Simonal,
Brick,
The Names,
Subhumans,
Deutsch Amerikanische Freundschaft,
The Neon Judgement,
Gil Scott-Heron and Jamie xx,
The Blues Magoos,
Ossler,
Joyce Sims,
Dennis Brown,
Ralphi Rosario,
Siglo XX,
Ronnie Foster,
Audionom,
Franke,
Freddie Wadling,
The Star Department,
Radio Birdman,
Lindisfarne,
Byron Stingily,
Bill Near,
Blancmange,
Mission of Burma,
Wighnomy Brothers & Robag Wruhme,
This Heat,
Peter and Kerry,
Royal Trux,
Warren Ellis,
Matthew Halsall,
ABC,
Andrew Ashong & Theo Parrish,
Yaz,
Prince Buster,
Young Marble Giants,
Josef K,
Tomorrow,
Harpers Bizarre,
Junior Murvin,
Section 25,
Buzzcocks,
Metal Thangz,
Brass Construction,
Peter Gordon & Love of Life Orchestra,
The Grass Roots,
John Coltrane,
Marshall Jefferson,
Organ,
Shoche,
John Foxx,
Duran Duran,
Dorothy Ashby,
The Moleskins,
Thinking Fellers Union Local 282,
Black Moon, Black Moon, Black Moon, Black Moon.
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.