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 Uganda and from Salvador.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Halifax and Bremen.
I'm losing my edge to the art-school Madrid 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 chamberlin 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 Names to the electroclash kids.
I played it at the Hacienda.
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 Selector Dub Narcotic. All the underground hits.
All Minny Pops tracks. I heard you have a vinyl of every Black Pus 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Lower 48 record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warren Ellis,
Jeru the Damaja,
Whodini,
Kool Moe Dee,
Bluetip,
Lou Christie,
The Selecter,
Anakelly,
Icehouse,
Q and Not U,
Bizarre Inc.,
Siouxsie and the Banshees,
The Human League,
Sister Nancy,
Fear,
The Dirtbombs,
Nils Olav,
Alton Ellis,
The Alarm Clocks,
Porter Ricks,
Darondo,
Jandek,
The Mojo Men,
Monks,
Mo-Dettes,
Pole,
Gary Puckett & The Union Gap,
Johnny Osbourne,
Ash Ra Tempel,
Motorama,
The Moleskins,
Urselle,
Second Layer,
The Monks,
Los Fastidios,
Main Source,
The Music Machine,
Major Organ And The Adding Machine,
Gang Starr,
Lou Reed,
Sixth Finger,
London Community Gospel Choir,
X-Ray Spex,
L. Decosne,
Erykah Badu,
The Modern Lovers,
EPMD,
Scan 7,
Echospace,
Throbbing Gristle,
8 Eyed Spy,
Beasts of Bourbon,
Moebius,
Sunsets and Hearts,
Hardrive,
Saccharine Trust,
Underground Resistance,
Gong,
The Kinks,
Severed Heads,
Amazonics,
a-ha,
Franke,
Red Lorry Yellow Lorry,
New Age Steppers, New Age Steppers, New Age Steppers, New Age Steppers.
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.