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 Norway and from Sao Paulo.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1975.
I'm losing my edge.
To all the kids in Shanghai and London.
I'm losing my edge to the art-school Lille 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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the 808 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 Ornette Coleman to the techno kids.
I played it at the Crocodile.
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 Siouxsie and the Banshees. All the underground hits.
All The Saints tracks. I heard you have a vinyl of every The Litter record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Black Moon record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
Inner City,
Pole,
Gerry Rafferty,
The Knickerbockers,
Underground Resistance,
Wolf Eyes,
Johnny Clarke,
The Gun Club,
Arthur Verocai,
Severed Heads,
F. McDonald,
Eric Copeland,
Icehouse,
Lindisfarne,
the Sonics,
Al Stewart,
Zero Boys,
Gil Scott-Heron & Brian Jackson,
John Coltrane,
Janne Schatter,
Sarah Menescal,
Lightning Bolt,
The Walker Brothers,
Vainqueur,
Röyhkä ja Rättö ja Lehtisalo,
Camron Feat. Memphis Bleek And Beenie Seigel,
New Age Steppers,
Bush Tetras,
Unwound,
FM Einheit,
Erykah Badu,
K-Klass,
The Mojo Men,
Minor Threat,
Roxette,
The Moleskins,
The Skatalites,
Sly & The Family Stone,
Brick,
Can,
Deadbeat,
Larry & the Blue Notes,
Slave,
The Chocolate Watch Band,
Robert Görl,
Dave Gahan,
The Doobie Brothers,
Yazoo,
A Certain Ratio,
Junior Murvin,
JFA,
The Fugs,
Mantronix,
The Leaves,
Marcia Griffiths,
Procol Harum,
Echospace,
Tommy Roe,
Ronnie Foster,
Model 500,
Infiniti,
Motorama,
Metal Thangz, Metal Thangz, Metal Thangz, Metal Thangz.
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.