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 Guatemala and from Woodstock.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Johannesburg.
I'm losing my edge to the art-school Glasgow 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 synthesizer sounds with much patience.
I was there when Michael McDonald 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 dance 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 Spandau Ballet. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every The Raincoats 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 '80s cut and another box set from the '90s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott Heron record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skaos,
World's Most,
It's A Beautiful Day,
Qualms,
Vaughan Mason & Crew,
T.S.O.L.,
Hot Snakes,
Lonnie Liston Smith,
Heaven 17,
Deakin,
Barry Ungar,
Minnie Riperton,
The Index,
Johnny Osbourne,
Gang of Four,
Shuggie Otis,
PIL,
Gichy Dan,
Newcleus,
K-Klass,
Absolute Body Control,
China Crisis,
the Sonics,
Public Enemy,
Judy Mowatt,
Faust,
Danielle Patucci,
The Dave Clark Five,
Alphaville,
Shoche,
Niagra,
Bush Tetras,
Jeff Mills,
Johnny Clarke,
Crime,
Teenage Jesus and the Jerks,
E-Dancer,
Dual Sessions,
Public Image Ltd.,
The Royal Family And The Poor,
Kurtis Blow,
Gil Scott-Heron & Brian Jackson,
Pagans,
Das Ding,
Reuben Wilson,
Skarface,
Camouflage,
Josef K,
Max Romeo,
Tres Demented,
D'Angelo,
Tomorrow,
the Swans,
Hashim,
Gian Franco Pienzio,
The Golliwogs,
Leonard Cohen,
Janne Schatter,
Fear,
Aswad,
Neu!, Neu!, Neu!, Neu!.
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.