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 Grenada and from Lille.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Spokane and Milan.
I'm losing my edge to the art-school Salvador 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 sitar sounds with much patience.
I was there when Donald Fagen 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 New Order to the techno kids.
I played it at the 40 Watt.
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 Bush Tetras. All the underground hits.
All Wighnomy Brothers & Robag Wruhme tracks. I heard you have a vinyl of every The Detroit Cobras record on German import.
I heard that you have a white label of every seminal grunge 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 an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock 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?
Zapp,
Nas,
Wolf Eyes,
Hasil Adkins,
New Age Steppers,
Yellowson,
Fear,
Quando Quango,
Pole,
The Count Five,
Gerry Rafferty,
Angry Samoans,
The Angels of Light,
Sparks,
Derrick Morgan,
Warren Ellis,
Nation of Ulysses,
Traffic Nightmare,
Joy Division,
The J.B.'s,
World's Most,
Aloha Tigers,
X-102,
Gil Scott-Heron & Brian Jackson,
The Victims,
L. Decosne,
Lou Christie,
Ken Boothe,
Harpers Bizarre,
Josef K,
Q65,
Rufus Thomas,
Blancmange,
Stereo Dub,
Pharoah Sanders,
U.S. Maple,
Mark Hollis,
Magazine,
Thinking Fellers Union Local 282,
Fifty Foot Hose,
Cabaret Voltaire,
Louis and Bebe Barron,
Crime,
The Remains,
Chris & Cosey,
Todd Terry,
Ituana,
The Standells,
Dark Day,
K-Klass,
Robert Hood,
Peter and Kerry,
Henry Cow,
Deakin,
Mad Mike,
Scott Walker,
Prince Buster,
Negative Approach,
Young Marble Giants,
Teenage Jesus and the Jerks,
Oppenheimer Analysis,
Franke,
Alison Limerick,
Au Pairs, Au Pairs, Au Pairs, Au Pairs.
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.