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 Uzbekistan and from Tokyo.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Shanghai and Madrid.
I'm losing my edge to the art-school Johannesburg 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 X-Ray Spex to the dance kids.
I played it at the Hacienda.
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 Fat Boys. All the underground hits.
All The Searchers tracks. I heard you have a vinyl of every The Victims record on German import.
I heard that you have a white label of every seminal techno 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 synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Gun Club record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Rundgren,
Los Fastidios,
Robert Hood,
Selector Dub Narcotic,
Teenage Jesus and the Jerks,
Electric Prunes,
Boredoms,
The Moody Blues,
Siouxsie and the Banshees,
Visage,
The Gories,
Skriet,
The Peanut Butter Conspiracy,
Second Layer,
Kerri Chandler,
Ultravox,
Liliput,
Flash Fearless,
Malaria!,
Technova,
MC5,
Deutsch Amerikanische Freundschaft,
Q65,
The Shadows of Knight,
48th St. Collective,
Wasted Youth,
Barbara Tucker,
Fort Wilson Riot,
The Sonics,
Vainqueur,
H. Thieme,
Colin Newman,
Delon & Dalcan,
Rekid,
The Cowsills,
Shuggie Otis,
Deepchord,
Connie Case,
Thinking Fellers Union Local 282,
Duran Duran,
Loose Ends,
Sun City Girls,
Interpol,
The Associates,
Michelle Simonal,
DNA,
Mary Jane Girls,
Magma,
Minny Pops,
Pharoah Sanders,
Suburban Knight,
Sight & Sound,
Sticky Fingaz feat. Raekwon,
Buzzcocks,
Nas,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
L. Decosne,
Crime,
Mr. Review,
Alison Limerick,
Althea and Donna,
Angry Samoans,
Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson.
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.