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 Slovenia and from Seoul.
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 1963 to 1972.
I'm losing my edge.
To all the kids in New York and Copenhagen.
I'm losing my edge to the art-school Sao Paulo 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 synthesizer 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 Nick Cave & The Bad Seeds 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 Siouxsie and the Banshees. All the underground hits.
All Oppenheimer Analysis tracks. I heard you have a vinyl of every Roy Ayers Ubiquity 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 '70s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deadbeat,
Johnny Clarke,
The Golliwogs,
Jerry's Kids,
a-ha,
A Flock of Seagulls,
X-101,
Jeru the Damaja,
One Last Wish,
DJ Style,
Eli Mardock,
Nico,
Basic Channel,
Laurel Aitken,
Y Pants,
ABBA,
Jeff Lynne,
Dual Sessions,
Girls At Our Best!,
Kauko Röyhkä ja Narttu,
Michelle Simonal,
Eve St. Jones,
Art Ensemble Of Chicago,
The J.B.'s,
The Dead C,
Man Parrish,
Soulsonic Force,
Monks,
Peter and Kerry,
Sonny Sharrock,
Whodini,
Tommy Roe,
Beasts of Bourbon,
Wire,
The Doors,
Lungfish,
Sly & The Family Stone,
The Real Kids,
Swans,
Chris & Cosey,
Angry Samoans,
Ash Ra Tempel,
Fugazi,
The Cramps,
Flamin' Groovies,
Spoonie Gee,
Masters at Work,
Black Flag,
Section 25,
Radio Birdman,
Lightning Bolt,
Mantronix,
Leonard Cohen,
The Sisters of Mercy,
New Age Steppers,
Vainqueur,
Sonic Youth,
Avey Tare,
Faust,
The Modern Lovers,
Black Bananas, Black Bananas, Black Bananas, Black Bananas.
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.