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 Estonia and from Paris.
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 1973.
I'm losing my edge.
To all the kids in Winnipeg and Glasgow.
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 1978 at the first Visage practice in a loft in London.
I was working on the mellotron 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 Drive Like Jehu to the electroclash kids.
I played it at the Astoria.
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 Gang of Four. All the underground hits.
All the Normal tracks. I heard you have a vinyl of every Barrington Levy 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 '70s.
I hear you're buying an oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Gun Club 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?
The Selecter,
Metal Thangz,
Gong,
The Index,
James Chance & The Contortions,
Sun City Girls,
Mary Jane Girls,
Rotary Connection,
Arcadia,
Matthew Halsall,
Gian Franco Pienzio,
Japan,
The Golliwogs,
AZ,
Stockholm Monsters,
Alphaville,
New Age Steppers,
Delon & Dalcan,
The Happenings,
Interpol,
Pete Rock & C.L. Smooth,
Harpers Bizarre,
The Gun Club,
Boogie Down Productions,
Kevin Saunderson,
Kango’s Stein Massive,
Urselle,
Albert Ayler,
DeepChord presents Echospace,
Lakeside,
Deutsch Amerikanische Freundschaft,
Pharoah Sanders,
Pantaleimon,
Man Parrish,
Dave Gahan,
Barry Ungar,
LL Cool J,
Brass Construction,
Inner City,
Agent Orange,
Babytalk,
Hasil Adkins,
The Pretty Things,
Alison Limerick,
Can,
Skarface,
The Cosmic Jokers,
Malaria!,
Jerry's Kids,
Derrick Morgan,
Essential Logic,
Brand Nubian,
New Order,
China Crisis,
Sparks,
Sonny Sharrock,
L. Decosne,
Skriet,
Jeff Mills,
Rod Modell, Rod Modell, Rod Modell, Rod Modell.
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.