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 Netherlands and from Cairo.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1970.
I'm losing my edge.
To all the kids in Cairo and Stockholm.
I'm losing my edge to the art-school Bremen 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 organ 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 Saccharine Trust to the dance kids.
I played it at the Crocodile.
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 Quadrant. All the underground hits.
All Tom Boy tracks. I heard you have a vinyl of every Avey Tare's Slasher Flicks 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 an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Eric Dolphy,
Gil Scott-Heron & Brian Jackson,
The Saints,
Drexciya,
Marvin Gaye,
the Normal,
The Cure,
Harry Pussy,
Intrusion,
Man Parrish,
Joy Division,
The Associates,
Negative Approach,
Amon Düül II,
Sad Lovers and Giants,
The Count Five,
Nirvana,
The Mummies,
The Dave Clark Five,
Roy Ayers Ubiquity,
Grandmaster Flash,
cv313,
Todd Terry,
Lakeside,
Angels of Light & Akron/Family,
Brass Construction,
Public Enemy,
Andrew Hill,
Bootsy Collins,
The Human League,
The Flesh Eaters,
the Slits,
Isaac Hayes,
Steve Hackett,
Tim Buckley,
Ultramagnetic MC's,
Pole,
the Bar-Kays,
Wings,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Fuzztones,
The Sound,
CMW,
Notorious BIG live in Amsterdam,
Spandau Ballet,
The United States of America,
Goldenarms,
Sun City Girls,
Minutemen,
Gil Scott-Heron and Jamie xx,
A Certain Ratio,
Fad Gadget,
The Knickerbockers,
Lungfish,
Ten City,
Bobby Sherman,
Red Lorry Yellow Lorry,
Massinfluence,
Neil Young & Crazy Horse,
Quantec,
Aswad,
Banda Bassotti, Banda Bassotti, Banda Bassotti, Banda Bassotti.
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.