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 Chile and from Milan.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Salvador and Jakarta.
I'm losing my edge to the art-school Manchester 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 güiro sounds with much patience.
I was there when Lou Reed 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 Laurel Aitken to the funk 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 Public Image Ltd.. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every X-Ray Spex record on German import.
I heard that you have a white label of every seminal dance 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 rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Lebanon Hanover record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liliput,
X-101,
The Cramps,
The Pretty Things,
The Buckinghams,
Sister Nancy,
Harry Pussy,
Graham Central Station,
Tropical Tobacco,
Toni Rubio,
The Angels of Light,
Barclay James Harvest,
EPMD,
Sun Ra Arkestra,
The Smiths,
The Jesus and Mary Chain,
the Human League,
Tears for Fears,
MC5,
Lebanon Hanover,
Eurythmics,
Cecil Taylor,
KRS-One,
Pharaoh Sanders and the Fire Engines,
Public Image Ltd.,
Be Bop Deluxe,
London Community Gospel Choir,
Sugar Minott,
Bob Dylan,
Lou Reed & Metallica,
Lou Reed & John Cale,
The Fuzztones,
Jerry's Kids,
Darondo,
Motorama,
DJ Sneak,
The Mighty Diamonds,
Lyres,
Parry Music,
Buzzcocks,
The Trojans,
Erasure,
Rapeman,
June Days,
Curtis Mayfield,
Pete Rock & C.L. Smooth,
Mad Mike,
Anakelly,
Popol Vuh,
Susan Cadogan,
The Sisters of Mercy,
Unwound,
Ronan,
The Selecter,
Sällskapet,
The Five Americans,
Livin' Joy,
Gang Gang Dance,
Essential Logic,
Tubeway Army,
Eyeless In Gaza,
Public Enemy, Public Enemy, Public Enemy, Public Enemy.
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.