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 New Zealand and from Taipei.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Toronto and Lille.
I'm losing my edge to the art-school Hong Kong 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the güiro sounds with much patience.
I was there when Michael McDonald 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 Vladislav Delay 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 Electric Prunes. All the underground hits.
All The Mummies tracks. I heard you have a vinyl of every Young Marble Giants 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 '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Slick Rick record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gun Club,
Hasil Adkins,
The Busters,
Siglo XX,
Ultramagnetic MC's,
Jandek,
10cc,
Wally Richardson,
Lalann,
Donald Byrd,
Motorama,
Altered Images,
John Holt,
Bobbi Humphrey,
Banda Bassotti,
The Moleskins,
Teenage Jesus and the Jerks,
Kings Of Tomorrow,
Frankie Knuckles,
Oppenheimer Analysis,
Minutemen,
B.T. Express,
Avey Tare,
Pylon,
U.S. Maple,
Glenn Branca,
Black Flag,
The Electric Prunes,
The Dirtbombs,
Pet Shop Boys,
The Techniques,
Country Joe & The Fish,
Joy Division,
E-Dancer,
The American Breed,
Terrestrial Tones,
Skriet,
Lafayette Afro Rock Band,
Moss Icon,
R.M.O.,
Freddie Wadling,
UT,
Bootsy's Rubber Band,
Soft Cell,
Visage,
Flamin' Groovies,
The Associates,
Man Eating Sloth,
Oneida,
Massinfluence,
Index,
Gary Puckett & The Union Gap,
Gregory Isaacs,
Nas,
Eddi Front,
Susan Cadogan,
Lou Reed & John Cale,
Eden Ahbez,
Faust, Faust, Faust, Faust.
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.