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 Guatemala and from Calgary.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1969 to 1976.
I'm losing my edge.
To all the kids in Paris and Bremen.
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 spring reverb 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 The Fortunes to the dance kids.
I played it at the Astoria.
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 Half Japanese. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every Charles Mingus record on German import.
I heard that you have a white label of every seminal dance 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 synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Buckinghams record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pussy Galore,
Mad Mike,
Darondo,
Stereo Dub,
Echospace,
Skriet,
kango's stein massive,
Thee Headcoats,
Ice-T,
Bob Dylan,
Susan Cadogan,
Banda Bassotti,
Scott Walker + Sunn O))),
The Alarm Clocks,
Blancmange,
Can,
Pagans,
Lee Hazlewood,
ABC,
Captain Beefheart & His Magic Band,
a-ha,
Bill Wells,
Tears for Fears,
Leonard Cohen,
Boz Scaggs,
FM Einheit,
Rakim,
Danielle Patucci,
Blossom Toes,
Aloha Tigers,
the Fania All-Stars,
Kerrie Biddell,
Big Daddy Kane,
Procol Harum,
Anthony Braxton,
Moebius,
Soul Sonic Force,
Pere Ubu,
Ronan,
Q65,
Sight & Sound,
John Lydon,
Pierre Henry,
David McCallum,
Toni Rubio,
The Names,
Maleditus Sound,
Pantytec,
The Star Department,
The Skatalites,
Ronnie Foster,
The Kinks,
The Seeds,
Lizzy Mercier Descloux,
U.S. Maple,
Siouxsie and the Banshees,
Moby Grape,
Easy Going,
Donny Hathaway,
Shuggie Otis,
Echo & the Bunnymen,
Infiniti,
Kurtis Blow, Kurtis Blow, Kurtis Blow, Kurtis Blow.
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.