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 Trinidad & Tobago and from Halifax.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Johannesburg.
I'm losing my edge to the art-school Jakarta 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 spring reverb 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 Glenn Branca to the techno kids.
I played it at the Spitz.
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 Skaos. All the underground hits.
All Maurizio tracks. I heard you have a vinyl of every Bronski Beat record on German import.
I heard that you have a white label of every seminal crunk 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 güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Harry Pussy record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Lydon,
Man Parrish,
The Moody Blues,
Pete Rock & C.L. Smooth,
Thompson Twins,
Grauzone,
Dead Boys,
Bauhaus,
Nation of Ulysses,
Kool Moe Dee,
The Chocolate Watch Band,
Stereo Dub,
Excepter,
John Holt,
Vainqueur,
DJ Sneak,
The Men They Couldn't Hang,
Angels of Light & Akron/Family,
Second Layer,
Motorama,
James White and The Blacks,
Average White Band,
Royal Trux,
John Foxx,
Ultra Naté,
PIL,
Mission of Burma,
Sugar Minott,
X-Ray Spex,
Donny Hathaway,
Alton Ellis,
Shoche,
Wire,
Deepchord,
Sly & The Family Stone,
John Cale,
Peter Gordon & Love of Life Orchestra,
the Swans,
the Soft Cell,
Dark Day,
Sällskapet,
The Golliwogs,
The Pretty Things,
D'Angelo,
Lower 48,
The Pop Group,
Susan Cadogan,
Rotary Connection,
Joensuu 1685,
Lucky Dragons,
Scratch Acid,
Easy Going,
Skaos,
Kauko Röyhkä ja Narttu,
The Fuzztones,
Teenage Jesus and the Jerks,
AZ,
La Düsseldorf,
the Sonics,
Donald Byrd,
Sarah Menescal,
T.S.O.L., T.S.O.L., T.S.O.L., T.S.O.L..
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.