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 Mexico 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 1960 to 1978.
I'm losing my edge.
To all the kids in London and Bremen.
I'm losing my edge to the art-school New York 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 1978 at the first Visage practice in a loft in London.
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 X-Ray Spex to the jazz kids.
I played it at the Hacienda.
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 Television. All the underground hits.
All Second Layer tracks. I heard you have a vinyl of every Funkadelic 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 '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Flag,
The Zeros,
Make Up,
Chris Corsano,
Art Ensemble Of Chicago,
Drive Like Jehu,
Little Man,
The Dave Clark Five,
Pete Rock & C.L. Smooth,
Johnny Clarke,
Pharoah Sanders,
Gerry Rafferty,
New York Dolls,
K-Klass,
Rites of Spring,
Matthew Bourne,
Dead Boys,
Dorothy Ashby,
Jawbox,
Mary Jane Girls,
Kayak,
Symarip,
Gil Scott Heron,
Subhumans,
The Golliwogs,
Eric B and Rakim,
Peter and Kerry,
Dave Gahan,
Accadde A,
Lakeside,
Rapeman,
Nas,
Gary Puckett & The Union Gap,
Joe Smooth,
Pussy Galore,
Pylon,
The Stooges,
Suicide,
Nico,
The Knickerbockers,
Gang Gang Dance,
Scan 7,
Sad Lovers and Giants,
the Association,
Scott Walker,
Yaz,
The Cure,
Super Lover Cee & Casanova Rud,
Sight & Sound,
Audionom,
Ornette Coleman,
L. Decosne,
Panda Bear,
This Heat,
Manfred Mann's Earth Band,
Jeru the Damaja,
Niagra,
Jeff Mills,
Danielle Patucci,
Desert Stars,
Alice Coltrane,
Hashim,
Lou Christie,
The Remains, The Remains, The Remains, The Remains.
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.