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 Haiti and from Portland.
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 1975.
I'm losing my edge.
To all the kids in Portland and New York.
I'm losing my edge to the art-school Stockholm 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 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 Crash Course in Science to the grime 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 Ultra Naté. All the underground hits.
All Chris & Cosey tracks. I heard you have a vinyl of every Beasts of Bourbon record on German import.
I heard that you have a white label of every seminal punk 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 organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Steve Hackett record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Little Man,
Toni Rubio,
Matthew Halsall,
Gabor Szabo,
Mark Hollis,
The Buckinghams,
Darondo,
Justin Hinds & The Dominoes,
Rekid,
Cabaret Voltaire,
Skaos,
Ultravox,
Porter Ricks,
David Axelrod,
Lakeside,
Roger Hodgson,
Skriet,
June of 44,
Mad Mike,
Wire,
The Fuzztones,
Althea and Donna,
Soft Machine,
Soul Sonic Force,
Accadde A,
Masters at Work,
Urselle,
Brass Construction,
The Cowsills,
Panda Bear,
The Black Dice,
Excepter,
Circle Jerks,
D'Angelo,
John Foxx,
Scan 7,
Siglo XX,
Japan,
Oblivians,
Sly & The Family Stone,
Minny Pops,
X-101,
Lou Reed & John Cale,
The West Coast Pop Art Experimental Band,
Tom Boy,
Joey Negro,
Siouxsie and the Banshees,
Jerry Gold Smith,
Colin Newman,
Underground Resistance,
The American Breed,
Chris & Cosey,
Agent Orange,
T.S.O.L.,
Popol Vuh,
The Walker Brothers,
Severed Heads,
This Heat,
Bobbi Humphrey,
Ronnie Foster,
Throbbing Gristle,
Anthony Braxton,
Bob Dylan,
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.