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 Austria and from Paris.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 Delhi and Edmonton.
I'm losing my edge to the art-school Mumbai 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 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 David Axelrod to the electroclash 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 Heavy D & The Boyz. All the underground hits.
All Boz Scaggs tracks. I heard you have a vinyl of every Idris Muhammad record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your güiro and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mission of Burma,
The Martian,
The Techniques,
The Beau Brummels,
Eric Copeland,
The Index,
Alphaville,
Urselle,
Skriet,
Lindisfarne,
Spandau Ballet,
Mars,
Rites of Spring,
JFA,
Depeche Mode,
Mary Jane Girls,
Black Pus,
Maurizio,
Motorama,
The Knickerbockers,
The Tremeloes,
The Shadows of Knight,
Sparks,
Darondo,
Joey Negro,
The Barracudas,
The Motions,
Parry Music,
Laurel Aitken,
Minor Threat,
Andrew Ashong & Theo Parrish,
The Happenings,
Index,
Dark Day,
Bad Manners,
Soft Cell,
Al Stewart,
The Neon Judgement,
Mandrill,
Monolake,
Public Image Ltd.,
Gil Scott-Heron and Jamie xx,
Harpers Bizarre,
The Last Poets,
Bobby Womack,
Sonic Youth,
Freddie Wadling,
Kerri Chandler,
Avey Tare's Slasher Flicks,
The Raincoats,
Gang of Four,
The Fall,
Rahsaan Roland Kirk,
Reuben Wilson,
Banda Bassotti,
Aural Exciters,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Vaughan Mason & Crew,
Tropical Tobacco,
Fat Boys,
Ohio Players,
U.S. Maple,
Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo.
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.