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 Tuvalu and from Madrid.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Johannesburg.
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 1978 at the first Visage practice in a loft in London.
I was working on the spring reverb 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 48th St. Collective to the grime kids.
I played it at the Roxy.
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 Q and Not U. All the underground hits.
All Flipper tracks. I heard you have a vinyl of every Moss Icon record on German import.
I heard that you have a white label of every seminal jazz 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 an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Throbbing Gristle,
Marcia Griffiths,
OOIOO,
DNA,
Iggy Pop,
The Mighty Diamonds,
Althea and Donna,
Derrick May,
Andrew Hill,
Soulsonic Force,
Wasted Youth,
Drive Like Jehu,
The Associates,
Dorothy Ashby,
Hot Snakes,
Chris & Cosey,
Barbara Tucker,
Slave,
The Detroit Cobras,
The J.B.'s,
The Techniques,
X-Ray Spex,
Kerrie Biddell,
The Seeds,
Kaleidoscope,
Infiniti,
The Martian,
Average White Band,
Wire,
The Neon Judgement,
Heaven 17,
Rowland S Howard / Lydia Lunch,
Roger Hodgson,
Lonnie Liston Smith,
Duran Duran,
The Fortunes,
The Remains,
The Beau Brummels,
Lebanon Hanover,
Sticky Fingaz feat. Raekwon,
Bad Manners,
Mark Hollis,
Warsaw,
Delta 5,
The Slackers,
The Busters,
Radio Birdman,
Fear,
B.T. Express,
Lalann,
FM Einheit,
The Selecter,
Crispian St. Peters,
The Dirtbombs,
Fatback Band,
David McCallum,
Interpol,
Camouflage,
Yellowson,
Drexciya,
Arab on Radar,
Rod Modell,
Al Stewart, Al Stewart, Al Stewart, Al Stewart.
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.