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 Indonesia and from Lyon.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1967 to 1974.
I'm losing my edge.
To all the kids in Accra and Copenhagen.
I'm losing my edge to the art-school Tehran 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 organ 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 Avey Tare to the grunge 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 Pussy Galore. All the underground hits.
All Saccharine Trust tracks. I heard you have a vinyl of every Outsiders record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Banda Bassotti record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rapeman,
Siouxsie and the Banshees,
Panda Bear,
Joey Negro,
Half Japanese,
Accadde A,
June Days,
Nick Fraelich,
The Move,
Tomorrow,
Nils Olav,
Mark Hollis,
Jeru the Damaja,
Vaughan Mason & Crew,
Strawberry Alarm Clock,
James Chance & The Contortions,
Trumans Water,
Graham Central Station,
Motorama,
a-ha,
Camron Feat. Memphis Bleek And Beenie Seigel,
Harpers Bizarre,
Siglo XX,
A Flock of Seagulls,
Khruangbin,
The Wake,
The Velvet Underground,
Peter Gordon & Love of Life Orchestra,
Ronan,
Little Man,
U.S. Maple,
Lindisfarne,
Sandy B,
Judy Mowatt,
Japan,
The West Coast Pop Art Experimental Band,
Sällskapet,
Fear,
Bobby Womack,
Rowland S Howard / Lydia Lunch,
KRS-One,
Amon Düül,
Gang Starr,
Boredoms,
The Durutti Column,
The Misunderstood,
Marcia Griffiths,
Lyres,
The Saints,
Outsiders,
Shuggie Otis,
Josef K,
Black Flag,
Cybotron,
The Angels of Light,
Au Pairs,
Sunsets and Hearts,
The Index,
the Normal,
the Association,
Roy Ayers,
The Barracudas,
Kool Moe Dee,
Visage, Visage, Visage, Visage.
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.