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 Yemen and from Toronto.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1979.
I'm losing my edge.
To all the kids in Lille and Jakarta.
I'm losing my edge to the art-school Lyon 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 Chrome to the dance kids.
I played it at the Astoria.
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 Mark Hollis. All the underground hits.
All Arab on Radar tracks. I heard you have a vinyl of every The Dead C 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 '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Mars record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Michelle Simonal,
Kaleidoscope,
Goldenarms,
Model 500,
the Bar-Kays,
Ituana,
Simply Red,
Rites of Spring,
Echo & the Bunnymen,
Black Moon,
Lakeside,
Cabaret Voltaire,
Black Sheep,
Eddi Front,
Larry & the Blue Notes,
the Slits,
T. Rex,
Adolescents,
The Victims,
The Alarm Clocks,
Gang Gang Dance,
Blossom Toes,
Masters at Work,
James Chance & The Contortions,
Second Layer,
The Doors,
The New Christs,
Funky Four + One,
Subhumans,
Magma,
Kool Moe Dee,
Surgeon,
The Men They Couldn't Hang,
Blancmange,
Orchestral Manoeuvres in the Dark,
The Skatalites,
It's A Beautiful Day,
Nico,
Pharaoh Sanders and the Fire Engines,
Danielle Patucci,
Mission of Burma,
Kevin Saunderson,
Lalann,
Darondo,
Gary Puckett & The Union Gap,
Shuggie Otis,
Girls At Our Best!,
Fear,
JFA,
Lalo Schifrin,
Davy DMX,
Severed Heads,
Ultravox,
MC5,
Gang Green,
Gil Scott Heron,
Aural Exciters,
Vaughan Mason & Crew,
The Martian,
Traffic Nightmare,
Soul II Soul, Soul II Soul, Soul II Soul, Soul II Soul.
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.