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 Algeria 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 1961 to 1978.
I'm losing my edge.
To all the kids in Hong Kong and Bologna.
I'm losing my edge to the art-school Tehran 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 clarinet 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 The Sisters of Mercy to the rock kids.
I played it at the Spitz.
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 The Standells. All the underground hits.
All Parry Music tracks. I heard you have a vinyl of every Eli Mardock record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Eric B and Rakim record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siouxsie and the Banshees,
John Holt,
Moebius,
The Peanut Butter Conspiracy,
Banda Bassotti,
Sparks,
New York Dolls,
Surgeon,
The Trojans,
Jawbox,
Rufus Thomas,
Scan 7,
Ice-T,
Lee Hazlewood,
X-Ray Spex,
Minny Pops,
Pharaoh Sanders and the Fire Engines,
Pantytec,
Fluxion,
Bad Manners,
Suicide,
Matthew Halsall,
Harpers Bizarre,
Vainqueur,
Lalann,
The Cure,
Skaos,
The Cramps,
The Alarm Clocks,
Matthew Bourne,
Stereo Dub,
The Sonics,
Ultramagnetic MC's,
Gregory Isaacs,
Janne Schatter,
Marc Almond,
Newcleus,
The Sound,
a-ha,
The Raincoats,
Ten City,
Gastr Del Sol,
Bush Tetras,
The Young Rascals,
Fat Boys,
Lafayette Afro Rock Band,
Lou Reed,
Avey Tare's Slasher Flicks,
Major Organ And The Adding Machine,
Hoover,
Aloha Tigers,
UT,
Dark Day,
Royal Trux,
The Tremeloes,
ABBA,
Black Bananas,
Accadde A,
Jesper Dahlbäck,
Roxette,
The Walker Brothers,
The Pretty Things,
Cluster,
Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic.
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.