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 United States and from Lyon.
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 1970.
I'm losing my edge.
To all the kids in Manila and Shanghai.
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 1978 at the first Visage practice in a loft in London.
I was working on the mellotron 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 Chrome to the dance 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 Man Parrish. All the underground hits.
All Eyeless In Gaza tracks. I heard you have a vinyl of every The Slackers record on German import.
I heard that you have a white label of every seminal rock 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 an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your linndrum and bought a theremin.
I hear that you and your band have sold your theremin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
D'Angelo,
Minny Pops,
Goldenarms,
Aaron Thompson,
the Soft Cell,
Sun Ra Arkestra,
Harpers Bizarre,
Siglo XX,
The Fugs,
Amon Düül II,
Bobby Byrd,
Supertramp,
The Barracudas,
Nico,
Nas,
Pantytec,
Be Bop Deluxe,
Bizarre Inc.,
Fluxion,
ABC,
Lonnie Liston Smith,
Bootsy Collins,
the Slits,
Rapeman,
Bobbi Humphrey,
Leonard Cohen,
Subhumans,
The Electric Prunes,
Radio Birdman,
Soul Sonic Force,
The Tremeloes,
Kayak,
Gil Scott-Heron & Brian Jackson,
Duran Duran,
Grandmaster Flash,
Throbbing Gristle,
The Beau Brummels,
Bang on a Can All-Stars,
The Monochrome Set,
Los Fastidios,
Dawn Penn,
Richard Hell and the Voidoids,
The Neon Judgement,
LL Cool J,
Japan,
Terror Squad Feat. Camron,
Rahsaan Roland Kirk,
Bluetip,
Teenage Jesus and the Jerks,
Pylon,
Brass Construction,
Godley & Creme,
Lalann,
Moss Icon,
Ultra Naté,
FM Einheit,
Rowland S Howard / Lydia Lunch,
Thinking Fellers Union Local 282,
Max Romeo, Max Romeo, Max Romeo, Max Romeo.
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.