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 Serbia and from Woodstock.
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 1961 to 1971.
I'm losing my edge.
To all the kids in London and Philadelphia.
I'm losing my edge to the art-school Manchester 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 theremin sounds with much patience.
I was there when Nile Rodgers 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 Jeff Lynne to the electroclash kids.
I played it at the Spitz.
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 John Cale. All the underground hits.
All The Monochrome Set tracks. I heard you have a vinyl of every The Doors record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kayak,
Oneida,
Teenage Jesus and the Jerks,
Dead Boys,
Darondo,
The Golliwogs,
Yusef Lateef,
The Cowsills,
the Soft Cell,
Arcadia,
Young Marble Giants,
Gang Green,
U.S. Maple,
Maurizio,
Iggy Pop,
The Monochrome Set,
Goldenarms,
Sugar Minott,
Sight & Sound,
The Last Poets,
Lou Reed & John Cale,
Mr. Review,
Erykah Badu,
Unrelated Segments,
Lee Hazlewood,
Michelle Simonal,
Brass Construction,
Ituana,
Louis and Bebe Barron,
Mark Hollis,
The Misunderstood,
Gichy Dan,
Hardrive,
Supertramp,
The Invisible,
Ralphi Rosario,
ABBA,
The Seeds,
Camberwell Now,
Bizarre Inc.,
Flipper,
UT,
Mandrill,
Kauko Röyhkä ja Narttu,
Lalo Schifrin,
Gang of Four,
Kas Product,
Bad Manners,
R.M.O.,
The Black Dice,
Robert Hood,
Nas,
Soft Machine,
Television,
The Jesus and Mary Chain,
Larry & the Blue Notes,
Subhumans,
Sound Behaviour,
Deakin, Deakin, Deakin, Deakin.
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.