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 Senegal and from Seoul.
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 1974.
I'm losing my edge.
To all the kids in Tokyo and Lyon.
I'm losing my edge to the art-school Woodstock 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 Soft Boys practice in a loft in Cambridge.
I was working on the oboe sounds with much patience.
I was there when Nile Rodgers 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 Bad Manners to the grime 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 Röyhkä ja Rättö ja Lehtisalo. All the underground hits.
All Rowland S Howard / Lydia Lunch tracks. I heard you have a vinyl of every Stiv Bators record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rosa Yemen,
Grey Daturas,
Oblivians,
New York Dolls,
Super Lover Cee & Casanova Rud,
Sugar Minott,
Stereo Dub,
DeepChord presents Echospace,
The Saints,
Matthew Halsall,
Lungfish,
Dawn Penn,
Little Man,
Bill Wells,
The Buckinghams,
Arthur Verocai,
The Fire Engines,
Roxy Music,
Quadrant,
Bobbi Humphrey,
The Sisters of Mercy,
David Axelrod,
Stetsasonic,
The Star Department,
June Days,
Vaughan Mason & Crew,
Fat Boys,
The Alarm Clocks,
Deakin,
The Blackbyrds,
The Slits,
Richard Hell and the Voidoids,
Half Japanese,
Mo-Dettes,
Junior Murvin,
Lightning Bolt,
Joensuu 1685,
Peter Gordon & Love of Life Orchestra,
The Cramps,
Angry Samoans,
Excepter,
Selector Dub Narcotic,
Barclay James Harvest,
Kerrie Biddell,
Pole,
Royal Trux,
Accadde A,
Brand Nubian,
Infiniti,
Pere Ubu,
Banda Bassotti,
Bobby Hutcherson,
The Dave Clark Five,
The Black Dice,
Public Image Ltd.,
Chrome,
Rekid,
The Index,
Aswad,
The Moody Blues,
John Foxx,
Black Moon,
EPMD, EPMD, EPMD, EPMD.
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.