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 Saudi Arabia and from Accra.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Halifax and London.
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 1978 at the first Visage practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Fluxion to the grime 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 Neil Young & Crazy Horse. All the underground hits.
All Steve Hackett tracks. I heard you have a vinyl of every Girls At Our Best! record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Slits,
The Cramps,
In Retrospect,
Young Marble Giants,
Stereo Dub,
KRS-One,
Magazine,
The Pop Group,
Sugar Minott,
Thinking Fellers Union Local 282,
Joey Negro,
Pere Ubu,
Man Eating Sloth,
Bush Tetras,
Don Cherry,
Amon Düül,
Black Bananas,
Peter Gordon & Love of Life Orchestra,
Lalo Schifrin,
Television Personalities,
Hasil Adkins,
Graham Central Station,
AZ,
The Busters,
The Monochrome Set,
Tim Buckley,
The Selecter,
Aloha Tigers,
Zero Boys,
Hot Snakes,
Junior Murvin,
Justin Hinds & The Dominoes,
MDC,
Stetsasonic,
Rapeman,
Public Enemy,
Ash Ra Tempel,
Gichy Dan,
Wire,
Deepchord,
PIL,
Swell Maps,
the Soft Cell,
Big Daddy Kane,
Rahsaan Roland Kirk,
Dual Sessions,
Robert Hood,
Derrick May,
The Sisters of Mercy,
Circle Jerks,
The Gories,
Tommy Roe,
New Age Steppers,
This Heat,
Joyce Sims,
Soft Machine,
the Germs,
Oblivians,
Eric Copeland,
Marine Girls,
Deadbeat, Deadbeat, Deadbeat, Deadbeat.
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.