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 Botswana and from Johannesburg.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1962 to 1978.
I'm losing my edge.
To all the kids in Tehran and Winnipeg.
I'm losing my edge to the art-school Toronto 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 linndrum 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 Barry Ungar to the crunk kids.
I played it at Trash.
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 Adolescents. All the underground hits.
All Boz Scaggs tracks. I heard you have a vinyl of every Stiv Bators 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 '70s cut and another box set from the '80s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Buzzcocks record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
Eden Ahbez,
Rotary Connection,
Lizzy Mercier Descloux,
Neil Young & Crazy Horse,
Marcia Griffiths,
kango's stein massive,
The Grass Roots,
Minny Pops,
Oneida,
Neu!,
The Real Kids,
Tommy Roe,
Nick Fraelich,
Peter and Kerry,
Heaven 17,
ABC,
John Lydon,
The Cramps,
Black Sheep,
Bizarre Inc.,
Kerri Chandler,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Magazine,
Dual Sessions,
Nils Olav,
Sight & Sound,
The Detroit Cobras,
Archie Shepp,
Kool Moe Dee,
Ken Boothe,
E-Dancer,
Mantronix,
Moss Icon,
Terrestrial Tones,
Hashim,
Sun City Girls,
Lightning Bolt,
Stockholm Monsters,
Bang on a Can All-Stars,
Gang of Four,
Charles Mingus,
Bad Manners,
the Sonics,
Bob Dylan,
Robert Görl,
Peter & Gordon,
The Zeros,
The Litter,
Fluxion,
Ice-T,
Ossler,
Nirvana,
Intrusion,
Graham Central Station,
Niagra,
The Flesh Eaters,
Altered Images,
Roy Ayers Ubiquity,
The Dead C,
Oppenheimer Analysis,
The Pop Group,
Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe.
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.