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 Ghana and from Philadelphia.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Madrid and Shanghai.
I'm losing my edge to the art-school Accra 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 chamberlin 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 Althea and Donna to the grime kids.
I played it at Cafe Wha.
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 Ten City. All the underground hits.
All Arcadia tracks. I heard you have a vinyl of every Glenn Branca record on German import.
I heard that you have a white label of every seminal dance 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 a harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Kas Product record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Human League,
Nils Olav,
Art Ensemble Of Chicago,
Richard Hell and the Voidoids,
Nik Kershaw,
The Move,
The Divine Comedy,
David McCallum,
The Index,
Harry Pussy,
Judy Mowatt,
Hasil Adkins,
Sunsets and Hearts,
Whodini,
James Chance & The Contortions,
Girls At Our Best!,
Trumans Water,
Lebanon Hanover,
The Fortunes,
Ice-T,
The Slackers,
Procol Harum,
Lightning Bolt,
Marvin Gaye,
Harpers Bizarre,
The Gories,
The Fugs,
Lalann,
Magma,
Oppenheimer Analysis,
The Beau Brummels,
Junior Murvin,
Stetsasonic,
Malaria!,
Audionom,
Young Marble Giants,
Oneida,
DJ Sneak,
The Doors,
Panda Bear,
Icehouse,
Derrick May,
Prince Buster,
Ultravox,
Dual Sessions,
Jacques Brel,
Newcleus,
Steve Hackett,
T.S.O.L.,
Index,
UT,
James White and The Blacks,
Von Mondo,
Mars,
The Mighty Diamonds,
Q65,
Darondo,
Chris Corsano,
Joyce Sims,
Country Teasers, Country Teasers, Country Teasers, Country Teasers.
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.