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 Dominica and from Sao Paulo.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Toronto 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 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 Captain Beefheart 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 The Residents to the rock kids.
I played it at the Crocodile.
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 Marine Girls. All the underground hits.
All Saccharine Trust tracks. I heard you have a vinyl of every Davy DMX record on German import.
I heard that you have a white label of every seminal jazz 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 guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Alphaville record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Lydon,
Scientists,
The Human League,
X-101,
Mary Jane Girls,
Rekid,
The Smiths,
Marcia Griffiths,
Negative Approach,
A Flock of Seagulls,
Michelle Simonal,
Letta Mbulu,
The Dead C,
Bootsy Collins,
Mark Hollis,
Avey Tare's Slasher Flicks,
Roxy Music,
Rod Modell,
Ronnie Foster,
Gil Scott-Heron & Brian Jackson,
Roy Ayers Ubiquity,
Terrestrial Tones,
The Moleskins,
The Wake,
The Neon Judgement,
Theoretical Girls,
Pylon,
the Germs,
Sun City Girls,
Arcadia,
Jimmy McGriff,
The Vogues,
Excepter,
June of 44,
the Human League,
The Seeds,
The Chocolate Watch Band,
Traffic Nightmare,
Jesper Dahlbäck,
The Index,
Stetsasonic,
A Certain Ratio,
Electric Light Orchestra,
Kas Product,
The Gun Club,
Stiv Bators,
Oblivians,
World's Most,
Kevin Saunderson,
The Happenings,
K-Klass,
Aural Exciters,
Bobby Byrd,
Gang Gang Dance,
Eli Mardock,
D'Angelo,
Accadde A,
Banda Bassotti,
Section 25,
Black Sheep,
Archie Shepp,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.