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 Bolivia and from Mumbai.
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 1972.
I'm losing my edge.
To all the kids in New York and Paris.
I'm losing my edge to the art-school Bologna 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the güiro 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 Girls At Our Best! to the crunk 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 Godley & Creme. All the underground hits.
All Motorama tracks. I heard you have a vinyl of every Henry Cow record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bush Tetras,
Yazoo,
A Flock of Seagulls,
Flipper,
Franke,
June of 44,
Gil Scott-Heron & Brian Jackson,
Chris Corsano,
The Divine Comedy,
Gil Scott Heron,
Aaron Thompson,
Johnny Osbourne,
Kurtis Blow,
The Slits,
Parry Music,
Fear,
Flash Fearless,
Bauhaus,
Suburban Knight,
Lee Hazlewood,
Visage,
Can,
Robert Wyatt,
Reagan Youth,
The New Christs,
The Doors,
Oppenheimer Analysis,
Babytalk,
The Black Dice,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Big Daddy Kane,
Grandmaster Flash,
Moss Icon,
Buzzcocks,
Yaz,
Orchestral Manoeuvres in the Dark,
Ten City,
The Residents,
Lou Reed,
MDC,
Marc Romboy vs. Booka Shade,
LL Cool J,
Erasure,
Danielle Patucci,
Frankie Knuckles,
John Holt,
the Slits,
Icehouse,
Desert Stars,
Pete Rock & C.L. Smooth,
Moby Grape,
Archie Shepp,
F. McDonald,
Stiv Bators,
Shuggie Otis,
Scion,
The Flesh Eaters,
Ituana,
The Offenders,
Bizarre Inc.,
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.