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 Solomon Islands and from Hong Kong.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Halifax and Bologna.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the guitar sounds with much patience.
I was there when Robert Palmer 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 Barry Ungar to the disco 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 The Smiths. All the underground hits.
All Silicon Teens tracks. I heard you have a vinyl of every Ornette Coleman record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your theremin and bought an oboe.
I hear that you and your band have sold your oboe and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Saints,
Blake Baxter,
Rod Modell,
Echospace,
Quantec,
Ohio Players,
Kurtis Blow,
Oblivians,
Sad Lovers and Giants,
Be Bop Deluxe,
Jeff Mills,
Siouxsie and the Banshees,
Jandek,
Gregory Isaacs,
Lee Hazlewood,
Art Ensemble Of Chicago,
A Flock of Seagulls,
Negative Approach,
The Jesus and Mary Chain,
John Lydon,
Ornette Coleman,
Dark Day,
Sister Nancy,
Spandau Ballet,
Duran Duran,
Crash Course in Science,
Vaughan Mason & Crew,
Mad Mike,
The Mighty Diamonds,
Rotary Connection,
Kool G Rap & DJ Polo,
John Holt,
Stockholm Monsters,
Average White Band,
The J.B.'s,
London Community Gospel Choir,
Pierre Henry,
Robert Wyatt,
Babytalk,
Fear,
Agitation Free,
Jacques Brel,
Darondo,
The Busters,
In Retrospect,
Deutsch Amerikanische Freundschaft,
Iggy Pop,
Second Layer,
Hoover,
Eric Dolphy,
Jeru the Damaja,
Hashim,
the Germs,
Fluxion,
Buzzcocks,
The Offenders,
Davy DMX,
Camberwell Now,
Gang Green,
The United States of America,
Roy Ayers Ubiquity,
Gang Gang Dance, Gang Gang Dance, Gang Gang Dance, Gang Gang Dance.
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.