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 Kuwait and from Cairo.
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 1974.
I'm losing my edge.
To all the kids in Delhi and Bremen.
I'm losing my edge to the art-school Glasgow 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the guitar sounds with much patience.
I was there when David Bowie 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 Dirtbombs to the dance kids.
I played it at the Troubador.
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 Cameo. All the underground hits.
All Yazoo 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 dance 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 clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yazoo,
Joyce Sims,
Schoolly D,
Grauzone,
Throbbing Gristle,
Röyhkä ja Rättö ja Lehtisalo,
Curtis Mayfield,
Beasts of Bourbon,
The Invisible,
Icehouse,
Fela Kuti,
Loose Ends,
The Pretty Things,
The Mojo Men,
Harry Pussy,
Deutsch Amerikanische Freundschaft,
Gregory Isaacs,
K-Klass,
Selector Dub Narcotic,
Gian Franco Pienzio,
Amazonics,
Rotary Connection,
Dual Sessions,
R.M.O.,
Echospace,
Harmonia,
Das Ding,
Siouxsie and the Banshees,
Soul Sonic Force,
Bluetip,
Glenn Branca,
The J.B.'s,
Electric Light Orchestra,
The Music Machine,
The Gap Band,
Danielle Patucci,
Matthew Halsall,
Sad Lovers and Giants,
Spandau Ballet,
Zero Boys,
D'Angelo,
Oppenheimer Analysis,
Thee Headcoats,
Funkadelic,
Saccharine Trust,
Panda Bear,
Technova,
Ultravox,
Ronan,
Wasted Youth,
Kings Of Tomorrow,
Section 25,
The Blackbyrds,
Brand Nubian,
Silicon Teens,
Quadrant,
Fifty Foot Hose,
Amon Düül II,
Pierre Henry,
Avey Tare,
Johnny Clarke,
Sight & Sound, Sight & Sound, Sight & Sound, Sight & Sound.
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.