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 Zambia and from Madrid.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1974.
I'm losing my edge.
To all the kids in Cairo and New York.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the harpsichord sounds with much patience.
I was there when Robert Palmer 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 Leonard Cohen to the disco kids.
I played it at Cafe Wha.
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 Bizarre Inc.. All the underground hits.
All Boredoms 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 rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MDC,
B.T. Express,
Minnie Riperton,
Schoolly D,
Sarah Menescal,
Black Flag,
the Slits,
The Human League,
Das Ding,
E-Dancer,
In Retrospect,
Kool Moe Dee,
The Smoke,
T. Rex,
Dawn Penn,
Eric B and Rakim,
Oblivians,
Public Image Ltd.,
Fad Gadget,
Nas,
the Normal,
cv313,
LL Cool J,
James Chance & The Contortions,
Wally Richardson,
Matthew Halsall,
Kaleidoscope,
Von Mondo,
Bush Tetras,
Camouflage,
Fugazi,
Alice Coltrane,
DJ Style,
the Germs,
Harmonia,
Lightning Bolt,
Rotary Connection,
The Pop Group,
F. McDonald,
Roy Ayers Ubiquity,
Camron Feat. Memphis Bleek And Beenie Seigel,
Derrick Morgan,
The Sisters of Mercy,
Echospace,
The Fuzztones,
The Victims,
Thinking Fellers Union Local 282,
Arcadia,
London Community Gospel Choir,
The Velvet Underground,
Warren Ellis,
Patti Smith,
The Dirtbombs,
Underground Resistance,
Deadbeat,
Stereo Dub,
Lucky Dragons,
Simply Red,
The Alarm Clocks,
Danielle Patucci,
The Associates,
Gil Scott-Heron & Brian Jackson,
the Sonics, the Sonics, the Sonics, the Sonics.
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.