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 Bolivia and from Tehran.
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 1978.
I'm losing my edge.
To all the kids in Cairo and Columbus.
I'm losing my edge to the art-school Edmonton 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the guitar 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 Soft Cell to the funk kids.
I played it at Trash.
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 Roger Hodgson. All the underground hits.
All Janne Schatter tracks. I heard you have a vinyl of every Boredoms record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
Fatback Band,
Lee Hazlewood,
Graham Central Station,
Pulsallama,
Tommy Roe,
DNA,
Sex Pistols,
Minny Pops,
Country Teasers,
Minutemen,
Yazoo,
Bad Manners,
Tubeway Army,
the Fania All-Stars,
Chrome,
Sexual Harrassment,
Agitation Free,
Andrew Hill,
Pylon,
Judy Mowatt,
The Golliwogs,
Orchestral Manoeuvres in the Dark,
Depeche Mode,
Cymande,
Bob Dylan,
Richard Hell and the Voidoids,
Maleditus Sound,
Steve Hackett,
Warren Ellis,
Country Joe & The Fish,
The Vogues,
Monks,
Henry Cow,
Sister Nancy,
The Dave Clark Five,
Q and Not U,
The Last Poets,
The Pop Group,
Frankie Knuckles,
Motorama,
Shoche,
Kango’s Stein Massive,
The Count Five,
Gichy Dan,
Pierre Henry,
Rakim,
Kurtis Blow,
Sarah Menescal,
Adolescents,
L. Decosne,
Alphaville,
Rhythm & Sound,
Youth Brigade,
Bobby Hutcherson,
Clear Light,
PIL,
John Holt,
Mission of Burma,
Subhumans,
Bang on a Can All-Stars,
Japan,
Echo & the Bunnymen, Echo & the Bunnymen, Echo & the Bunnymen, Echo & the Bunnymen.
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.