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 Ireland and from Winnipeg.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1977.
I'm losing my edge.
To all the kids in Manchester and Tokyo.
I'm losing my edge to the art-school Tehran 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 guitar sounds with much patience.
I was there when Lou Reed 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 The Searchers to the jazz 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 EPMD. All the underground hits.
All Marine Girls tracks. I heard you have a vinyl of every Larry & the Blue Notes 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 '50s cut and another box set from the '80s.
I hear you're buying a marimba and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Ash Ra Tempel record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slave,
The Moleskins,
Public Image Ltd.,
Subhumans,
Cecil Taylor,
Adolescents,
Erasure,
Amon Düül,
Sam Rivers,
Talk Talk,
Bobby Sherman,
Ultimate Spinach,
Ossler,
The Count Five,
Rufus Thomas,
Heavy D & The Boyz,
Kauko Röyhkä ja Narttu,
Heaven 17,
Au Pairs,
Can,
Eyeless In Gaza,
Rotary Connection,
The Happenings,
Tomorrow,
The Flesh Eaters,
Radiopuhelimet,
Chrome,
the Soft Cell,
London Community Gospel Choir,
Rowland S Howard / Lydia Lunch,
Swans,
Barbara Tucker,
Kurtis Blow,
Joensuu 1685,
Gian Franco Pienzio,
The Busters,
Supertramp,
Wolf Eyes,
Desert Stars,
Tropical Tobacco,
Sandy B,
The Monks,
Silicon Teens,
Lungfish,
This Heat,
Ash Ra Tempel,
T. Rex,
Kevin Saunderson,
Bang On A Can,
Wasted Youth,
Matthew Halsall,
Clear Light,
Stereo Dub,
The Shadows of Knight,
Second Layer,
Archie Shepp,
Intrusion,
The Sound,
Nick Cave & The Bad Seeds,
Whodini,
The Skatalites,
The Chocolate Watch Band,
Infiniti,
Gastr Del Sol,
Roger Hodgson, Roger Hodgson, Roger Hodgson, Roger Hodgson.
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.