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 Kazakhstan and from Salvador.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1965 to 1974.
I'm losing my edge.
To all the kids in London and London.
I'm losing my edge to the art-school Houston 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 güiro sounds with much patience.
I was there when David Bowie 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 Gastr Del Sol to the techno kids.
I played it at the Astoria.
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 Magazine. All the underground hits.
All Sly & The Family Stone tracks. I heard you have a vinyl of every Nirvana record on German import.
I heard that you have a white label of every seminal dance 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 harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your marimba and bought a snare.
I hear that you and your band have sold your snare and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fear,
Robert Görl,
Public Image Ltd.,
Marc Romboy vs. Booka Shade,
Malaria!,
48th St. Collective,
PIL,
Cluster,
Bronski Beat,
Sister Nancy,
Cabaret Voltaire,
The Moody Blues,
Scan 7,
The Saints,
Symarip,
Jesper Dahlback,
John Coltrane,
The Mummies,
Max Romeo,
June Days,
Rekid,
Jerry Gold Smith,
Junior Murvin,
H. Thieme,
X-102,
The Invisible,
Wighnomy Brothers & Robag Wruhme,
a-ha,
The Stooges,
Flash Fearless,
Judy Mowatt,
Steve Hackett,
World's Most,
Ultramagnetic MC's,
Urselle,
Fluxion,
Lou Reed & Metallica,
The Vogues,
Rahsaan Roland Kirk,
Lower 48,
Drive Like Jehu,
The Move,
Fat Boys,
Babytalk,
Lalo Schifrin,
F. McDonald,
Banda Bassotti,
The Standells,
Sun Ra,
Graham Central Station,
Bootsy's Rubber Band,
Avey Tare,
Art Ensemble Of Chicago,
Tomorrow,
Los Fastidios,
The Tremeloes,
The Velvet Underground,
Qualms,
The Star Department,
Glambeats Corp.,
Scrapy,
Trumans Water, Trumans Water, Trumans Water, Trumans Water.
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.