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 Ethiopia and from Hong Kong.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Madrid.
I'm losing my edge to the art-school Mexico City 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the güiro 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 Saccharine Trust to the punk kids.
I played it at the Crocodile.
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 Siglo XX. All the underground hits.
All Wings tracks. I heard you have a vinyl of every Scion record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mars,
Strawberry Alarm Clock,
Bootsy's Rubber Band,
Grauzone,
It's A Beautiful Day,
The Busters,
The Trojans,
Glenn Branca,
The Beau Brummels,
Camberwell Now,
Radio Birdman,
John Foxx,
Neil Young & Crazy Horse,
F. McDonald,
Joe Smooth,
Pulsallama,
Intrusion,
Lou Reed & Metallica,
New Order,
Manfred Mann's Earth Band,
Gang Gang Dance,
Amon Düül II,
Monolake,
Von Mondo,
Rapeman,
The Fire Engines,
The New Christs,
Theoretical Girls,
Country Teasers,
Groovy Waters,
Saccharine Trust,
Shuggie Otis,
Q65,
Sugar Minott,
Avey Tare,
Be Bop Deluxe,
Isaac Hayes,
The Toasters,
Minutemen,
Grandmaster Flash,
8 Eyed Spy,
Dual Sessions,
Gian Franco Pienzio,
Siglo XX,
Yaz,
Outsiders,
Blancmange,
Icehouse,
In Retrospect,
Ronnie Foster,
Country Joe & The Fish,
Richard Hell and the Voidoids,
Rites of Spring,
Vaughan Mason & Crew,
The Golliwogs,
Echospace,
Hot Snakes,
The Vogues,
The Moody Blues,
T.S.O.L.,
Banda Bassotti,
The Slits, The Slits, The Slits, The Slits.
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.