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 Georgia and from Tehran.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Cairo.
I'm losing my edge to the art-school Bremen 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the linndrum 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 Trojans to the electroclash kids.
I played it at Trash.
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 Kevin Saunderson. All the underground hits.
All Amazonics tracks. I heard you have a vinyl of every Howard Jones 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 '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Dead Boys record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Malaria!,
Theoretical Girls,
The Beau Brummels,
Magazine,
The Pop Group,
Jeff Lynne,
Gang Gang Dance,
Louis and Bebe Barron,
The Vogues,
Roxy Music,
Heaven 17,
Idris Muhammad,
Soft Machine,
Fatback Band,
JFA,
Suicide,
Bootsy's Rubber Band,
The Associates,
The Fall,
Anakelly,
Rekid,
Ossler,
Royal Trux,
Scan 7,
Suburban Knight,
The Techniques,
Pere Ubu,
cv313,
Tomorrow,
Freddie Wadling,
Art Ensemble Of Chicago,
Boredoms,
Liaisons Dangereuses,
Janne Schatter,
The Angels of Light,
Motorama,
Model 500,
Davy DMX,
Morten Harket,
Prince Buster,
Delon & Dalcan,
The Monks,
Joey Negro,
The Gun Club,
Pantaleimon,
Mantronix,
Grandmaster Flash,
June Days,
Graham Central Station,
The Blues Magoos,
Television Personalities,
Beasts of Bourbon,
Wally Richardson,
Mars,
Johnny Osbourne,
Rotary Connection,
Sarah Menescal,
The Walker Brothers,
Darondo,
Cluster,
Tres Demented, Tres Demented, Tres Demented, Tres Demented.
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.