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 Belgium and from Lagos.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1972.
I'm losing my edge.
To all the kids in Philadelphia and Portland.
I'm losing my edge to the art-school Lagos 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin 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 Oneida to the electroclash kids.
I played it at the Troubador.
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 Pulsallama. All the underground hits.
All Sällskapet tracks. I heard you have a vinyl of every Johnny Clarke 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 linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Nation of Ulysses record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Lydon,
The Cowsills,
Electric Light Orchestra,
Sugar Minott,
Arthur Verocai,
The Stooges,
The Evens,
the Fania All-Stars,
The Fortunes,
Rhythim Is Rhythim,
John Cale,
Kevin Saunderson,
Soul Sonic Force,
Joyce Sims,
Derrick May,
MDC,
Danielle Patucci,
Suicide,
Lindisfarne,
Popol Vuh,
Simply Red,
Steve Hackett,
Kayak,
Camouflage,
The Techniques,
Radiopuhelimet,
Dead Boys,
Matthew Halsall,
Wire,
The Walker Brothers,
The Count Five,
Johnny Clarke,
The Beau Brummels,
Alice Coltrane,
Peter and Kerry,
Graham Central Station,
F. McDonald,
Visionaries,LMNO, T- Love & Iriscience,
Ultramagnetic MC's,
Can,
Hasil Adkins,
Wasted Youth,
Pantytec,
John Holt,
EPMD,
Shoche,
Quantec,
Curtis Mayfield,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Japan,
Grauzone,
Scion,
Wolf Eyes,
Tubeway Army,
Lebanon Hanover,
The West Coast Pop Art Experimental Band,
The Gun Club,
DeepChord presents Echospace,
Soft Cell,
Tomorrow,
The Standells,
Porter Ricks,
Cybotron, Cybotron, Cybotron, Cybotron.
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.