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 Slovakia and from Jakarta.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Manchester and Sao Paulo.
I'm losing my edge to the art-school Winnipeg 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 1968 at the first Bowie practice in a loft in Bromley.
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 Dead Boys to the rap kids.
I played it at Cafe Wha.
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 The Cosmic Jokers. All the underground hits.
All Saccharine Trust tracks. I heard you have a vinyl of every Slave 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 '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Severed Heads record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
The Monochrome Set,
Fort Wilson Riot,
Subhumans,
Banda Bassotti,
H. Thieme,
The Walker Brothers,
Röyhkä ja Rättö ja Lehtisalo,
Alison Limerick,
CMW,
Kool Moe Dee,
Erykah Badu,
Tommy Roe,
Visage,
The Beau Brummels,
Newcleus,
Kerrie Biddell,
Connie Case,
Ultravox,
The Mighty Diamonds,
Yaz,
Cecil Taylor,
Marvin Gaye,
Scan 7,
Gregory Isaacs,
James White and The Blacks,
Index,
James Chance & The Contortions,
La Düsseldorf,
Angry Samoans,
Wire,
Lou Reed & John Cale,
Clear Light,
Laurel Aitken,
Mr. Review,
Roy Ayers,
Deakin,
Avey Tare & Kría Brekkan,
The Moleskins,
In Retrospect,
Sound Behaviour,
R.M.O.,
Model 500,
Joensuu 1685,
New Age Steppers,
Glenn Branca,
Moss Icon,
Kevin Saunderson,
Sly & The Family Stone,
Vladislav Delay,
Brass Construction,
Agitation Free,
Graham Central Station,
Motorama,
Grandmaster Flash,
Mary Jane Girls,
Zapp,
Avey Tare's Slasher Flicks,
Eric Copeland,
The Vogues,
Cybotron,
Marc Almond,
The Zeros,
Sonny Sharrock, Sonny Sharrock, Sonny Sharrock, Sonny Sharrock.
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.