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 United Kingdom and from Shanghai.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Shanghai and Hong Kong.
I'm losing my edge to the art-school Houston 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 Byron Stingily to the grime 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 Theoretical Girls. All the underground hits.
All Dave Gahan tracks. I heard you have a vinyl of every Liliput record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Soft Machine record.
I hear that you and your band have sold your güiro and bought a guitar.
I hear that you and your band have sold your guitar and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronnie Foster,
The Blues Magoos,
Zero Boys,
Brand Nubian,
Country Joe & The Fish,
Lou Reed,
Barbara Tucker,
The Neon Judgement,
Stetsasonic,
The Chocolate Watch Band,
Charles Mingus,
Flamin' Groovies,
Technova,
Graham Central Station,
Magazine,
The Pop Group,
Black Sheep,
Procol Harum,
The Sisters of Mercy,
Cecil Taylor,
Gil Scott Heron,
Qualms,
The Peanut Butter Conspiracy,
The Real Kids,
Alton Ellis,
Kool Moe Dee,
Anthony Braxton,
the Slits,
Kings Of Tomorrow,
Sly & The Family Stone,
The Young Rascals,
Scrapy,
Peter Gordon & Love of Life Orchestra,
Whodini,
Howard Jones,
Connie Case,
Joe Smooth,
Little Man,
Crash Course in Science,
La Düsseldorf,
Ralphi Rosario,
Eric Dolphy,
K-Klass,
Todd Rundgren,
Sixth Finger,
John Holt,
Scratch Acid,
Gil Scott-Heron and Jamie xx,
Eric Copeland,
The Victims,
The West Coast Pop Art Experimental Band,
Angry Samoans,
Andrew Ashong & Theo Parrish,
Outsiders,
Suburban Knight,
One Last Wish,
a-ha,
Dark Day,
Ultra Naté,
Quadrant,
the Germs,
Nirvana, Nirvana, Nirvana, Nirvana.
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.