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 London.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Jakarta and Houston.
I'm losing my edge to the art-school Mumbai 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 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 Loose Ends to the dance kids.
I played it at CBGB's.
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 Pharoah Sanders. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every The Men They Couldn't Hang 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 '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Sad Lovers and Giants record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Y Pants,
Spandau Ballet,
Nas,
Banda Bassotti,
A Certain Ratio,
Spoonie Gee,
Sad Lovers and Giants,
OOIOO,
The Moody Blues,
Boredoms,
Peter and Kerry,
Matthew Halsall,
F. McDonald,
Grandmaster Flash,
Hardrive,
Stiv Bators,
Saccharine Trust,
Aaron Thompson,
The Sisters of Mercy,
Qualms,
Anthony Braxton,
David McCallum,
DJ Style,
Q and Not U,
Ultravox,
Glenn Branca,
Inner City,
The Durutti Column,
Electric Light Orchestra,
Public Image Ltd.,
Easy Going,
Kurtis Blow,
Junior Murvin,
De La Soul & Jungle Brothers,
the Bar-Kays,
Robert Wyatt,
The Stooges,
Boogie Down Productions,
Drexciya,
Scrapy,
Sonny Sharrock,
Be Bop Deluxe,
D'Angelo,
Model 500,
Bobby Byrd,
Rites of Spring,
The Index,
Deepchord,
The Real Kids,
Siglo XX,
Bobby Hutcherson,
Juan Atkins,
The Slackers,
Black Sheep,
Gil Scott Heron,
Notorious Big And Bone Thugs,
Jeru the Damaja,
L. Decosne,
T.S.O.L.,
Ohio Players,
Shoche,
The Selecter, The Selecter, The Selecter, The Selecter.
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.