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 Greece and from Tokyo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1973.
I'm losing my edge.
To all the kids in Tehran and Madrid.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the rhodes sounds with much patience.
I was there when David Bowie 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 Pretty Things to the techno 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 Barbara Tucker. All the underground hits.
All Whodini tracks. I heard you have a vinyl of every Dual Sessions record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your güiro and bought a theremin.
I hear that you and your band have sold your theremin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sad Lovers and Giants,
The Wake,
Urselle,
The Monks,
Lalann,
Mandrill,
Sunsets and Hearts,
Ituana,
Angry Samoans,
Derrick May,
Bang On A Can,
Scan 7,
Cabaret Voltaire,
Joe Finger,
Public Image Ltd.,
Tropical Tobacco,
Gichy Dan,
John Holt,
Todd Rundgren,
Traffic Nightmare,
Carl Craig,
Deepchord,
Harry Pussy,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Jeff Lynne,
Gabor Szabo,
June of 44,
Rites of Spring,
Drive Like Jehu,
London Community Gospel Choir,
Curtis Mayfield,
Kings Of Tomorrow,
Frankie Knuckles,
Marc Romboy vs. Booka Shade,
the Soft Cell,
Goldenarms,
Soft Cell,
The Peanut Butter Conspiracy,
Liaisons Dangereuses,
Deakin,
Neil Young & Crazy Horse,
Gil Scott-Heron and Jamie xx,
Piero Umiliani,
Larry & the Blue Notes,
John Coltrane,
The Victims,
Scientists,
A Flock of Seagulls,
Stiv Bators,
World's Most,
The Fuzztones,
Q65,
Be Bop Deluxe,
Joe Smooth,
Eden Ahbez,
Boredoms,
Cymande,
The Stooges,
Accadde A,
the Association,
John Lydon,
The New Christs, The New Christs, The New Christs, The New Christs.
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.