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 Eritrea and from Salvador.
But I was there.
I was there in 1973.
I was there at the first Television 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 1964 to 1971.
I'm losing my edge.
To all the kids in Lyon and Halifax.
I'm losing my edge to the art-school Toronto 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 guitar sounds with much patience.
I was there when Holger Czukay 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 Ronan to the dance kids.
I played it at the Crocodile.
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 T. Rex. All the underground hits.
All Underground Resistance tracks. I heard you have a vinyl of every Nation of Ulysses record on German import.
I heard that you have a white label of every seminal rock 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 snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Smoke record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Television Personalities,
Masters at Work,
Parry Music,
Sight & Sound,
The Jesus and Mary Chain,
The Associates,
Todd Terry,
Mars,
UT,
Don Cherry,
Agent Orange,
Wolf Eyes,
Hot Snakes,
Ludus,
Ken Boothe,
Crispy Ambulance,
The Invisible,
the Soft Cell,
The Stooges,
One Last Wish,
The Victims,
The Neon Judgement,
Selector Dub Narcotic,
Pere Ubu,
Pharaoh Sanders and the Fire Engines,
Ituana,
Sixth Finger,
Throbbing Gristle,
Warren Ellis,
The Divine Comedy,
Public Enemy,
Brothers Johnson,
Moebius,
R.M.O.,
Sound Behaviour,
Gang of Four,
Blossom Toes,
The Cosmic Jokers,
E-Dancer,
Gichy Dan,
Thinking Fellers Union Local 282,
Hardrive,
Arab on Radar,
Boogie Down Productions,
Brand Nubian,
Deutsch Amerikanische Freundschaft,
Adolescents,
Eric Copeland,
The New Christs,
Gregory Isaacs,
Spandau Ballet,
Country Joe & The Fish,
Lalann,
The Gories,
Sunsets and Hearts,
Average White Band,
Y Pants,
Black Bananas,
Liliput,
Lungfish,
Eddi Front,
Lalo Schifrin,
the Slits, the Slits, the Slits, the Slits.
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.