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 Iran and from Johannesburg.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Milan and Salvador.
I'm losing my edge to the art-school Columbus 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the marimba sounds with much patience.
I was there when Robert Palmer 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 Notorious Big And Bone Thugs to the disco kids.
I played it at CBGB's.
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 the Germs. All the underground hits.
All Grandmaster Flash tracks. I heard you have a vinyl of every Clear Light record on German import.
I heard that you have a white label of every seminal techno 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 an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a B.T. Express record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mandrill,
Kayak,
Sällskapet,
Mary Jane Girls,
Faraquet,
Boredoms,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Kaleidoscope,
cv313,
Dead Boys,
Ten City,
Roxy Music,
Electric Light Orchestra,
Peter Gordon & Love of Life Orchestra,
The American Breed,
Organ,
Joe Smooth,
The Pop Group,
Japan,
Oblivians,
Michelle Simonal,
Von Mondo,
Jandek,
Sight & Sound,
The Dirtbombs,
Al Stewart,
Scion,
Flash Fearless,
The Martian,
Tomorrow,
Kerrie Biddell,
The Slackers,
Lyres,
China Crisis,
Lower 48,
Jeff Lynne,
Barrington Levy,
Colin Newman,
Man Parrish,
Monolake,
Rufus Thomas,
the Swans,
Kauko Röyhkä ja Narttu,
DJ Style,
Absolute Body Control,
Freddie Wadling,
Bobby Womack,
Lou Reed,
Nick Fraelich,
Rekid,
The Smoke,
MC5,
Juan Atkins,
Ultramagnetic MC's,
Cabaret Voltaire,
Jerry Gold Smith,
Barry Ungar,
The Golliwogs,
Todd Terry,
The Angels of Light,
Index,
Pole,
Buzzcocks, Buzzcocks, Buzzcocks, Buzzcocks.
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.