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 Marshall Islands and from Glasgow.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1969 to 1978.
I'm losing my edge.
To all the kids in Manchester and Lille.
I'm losing my edge to the art-school Mexico City 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 1978 at the first Visage practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when Holger Czukay 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 Marine Girls to the electroclash kids.
I played it at the Troubador.
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 Franke. All the underground hits.
All Lou Reed tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a guitar and a rhodes 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 chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Big Daddy Kane,
James White and The Blacks,
The Durutti Column,
Depeche Mode,
Flash Fearless,
Gang Gang Dance,
Godley & Creme,
Lakeside,
The Doobie Brothers,
The Standells,
Eric B and Rakim,
DJ Style,
Ultravox,
The Techniques,
Scrapy,
Country Joe & The Fish,
Avey Tare's Slasher Flicks,
The Red Krayola,
Warsaw,
Joey Negro,
Guru Guru,
Cybotron,
Swell Maps,
Wighnomy Brothers & Robag Wruhme,
Siouxsie and the Banshees,
Marine Girls,
Massinfluence,
Section 25,
Sound Behaviour,
A Certain Ratio,
The Motions,
The Men They Couldn't Hang,
The Mighty Diamonds,
Brothers Johnson,
The Cowsills,
The Associates,
Amazonics,
Symarip,
Main Source,
Dead Boys,
The Stooges,
Camberwell Now,
T.S.O.L.,
Roy Ayers,
Sun Ra,
Stereo Dub,
Theoretical Girls,
The Move,
The Five Americans,
Connie Case,
X-102,
Tubeway Army,
Lizzy Mercier Descloux,
Eli Mardock,
Bad Manners,
Jeru the Damaja,
Terrestrial Tones,
Laurel Aitken,
Gian Franco Pienzio,
The Barracudas,
The Chocolate Watch Band,
The Mummies, The Mummies, The Mummies, The Mummies.
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.