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 Tuvalu and from Manchester.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Mumbai and Bologna.
I'm losing my edge to the art-school Mexico City 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 organ 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 Fluxion to the crunk kids.
I played it at Cafe Wha.
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 Moss Icon. All the underground hits.
All The Young Rascals tracks. I heard you have a vinyl of every Drexciya 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 '70s cut and another box set from the '80s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Angels of Light & Akron/Family record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Erasure,
Barrington Levy,
Public Image Ltd.,
Terrestrial Tones,
Ludus,
Mandrill,
Donald Byrd,
Boredoms,
Rhythim Is Rhythim,
Mantronix,
Rowland S Howard / Lydia Lunch,
Amon Düül II,
Urselle,
Reagan Youth,
The Red Krayola,
Chrome,
ABBA,
This Heat,
Parry Music,
The United States of America,
Fear,
Gang of Four,
Blancmange,
The Beau Brummels,
Jacob Miller,
Nas,
Derrick Morgan,
Skriet,
Isaac Hayes,
Michelle Simonal,
World's Most,
The Birthday Party,
Maurizio,
Roxette,
The Barracudas,
Whodini,
Second Layer,
Scan 7,
Monolake,
D'Angelo,
Pete Rock & C.L. Smooth,
Black Flag,
The Move,
The Dead C,
Kings Of Tomorrow,
Crime,
Pole,
Max Romeo,
Angry Samoans,
Theoretical Girls,
Desert Stars,
Be Bop Deluxe,
Minnie Riperton,
A Certain Ratio,
China Crisis,
Nico,
U.S. Maple,
The Electric Prunes,
Quantec,
The West Coast Pop Art Experimental Band,
Rufus Thomas,
Albert Ayler, Albert Ayler, Albert Ayler, Albert Ayler.
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.