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 Gabon and from Winnipeg.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Shanghai and Lille.
I'm losing my edge to the art-school Lagos 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 1984 at the first Arcadia practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when David Bowie 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 Spandau Ballet to the rap 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 Mad Mike. All the underground hits.
All Inner City tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Lightning Bolt record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Buzzcocks,
Super Lover Cee & Casanova Rud,
Eyeless In Gaza,
Little Man,
Pylon,
Newcleus,
Aloha Tigers,
Easy Going,
Unwound,
Dual Sessions,
Gary Puckett & The Union Gap,
Blossom Toes,
Jerry Gold Smith,
X-102,
Marc Romboy vs. Booka Shade,
Charles Mingus,
Rowland S Howard / Lydia Lunch,
Subhumans,
Connie Case,
Schoolly D,
Max Romeo,
KRS-One,
X-Ray Spex,
Peter and Kerry,
Kenny Larkin,
The Slits,
Major Organ And The Adding Machine,
OOIOO,
Lightning Bolt,
Shoche,
The Neon Judgement,
Rites of Spring,
Boz Scaggs,
La Düsseldorf,
Radio Birdman,
Roxy Music,
UT,
Bobby Sherman,
Darondo,
Goldenarms,
Albert Ayler,
Mo-Dettes,
Intrusion,
Animal Collective,
The Tremeloes,
The Gladiators,
Sparks,
Patti Smith,
The J.B.'s,
Flash Fearless,
The Monks,
Sight & Sound,
The Fall,
the Association,
Orchestral Manoeuvres in the Dark,
The Fuzztones,
The Mojo Men,
Scion,
Porter Ricks,
Ralphi Rosario,
Nils Olav,
Thee Headcoats,
David Axelrod,
Harpers Bizarre, Harpers Bizarre, Harpers Bizarre, Harpers Bizarre.
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.