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 Grenada and from Johannesburg.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1975.
I'm losing my edge.
To all the kids in Philadelphia and Beijing.
I'm losing my edge to the art-school Mexico City 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 güiro sounds with much patience.
I was there when Donald Fagen 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 Joey Negro to the grunge 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 Pulsallama. All the underground hits.
All The Motions tracks. I heard you have a vinyl of every Wolf Eyes record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
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 Grandmaster Flash record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlbäck,
World's Most,
The Toasters,
Big Daddy Kane,
Swans,
Blancmange,
Inner City,
Rhythm & Sound,
The Trojans,
Siouxsie and the Banshees,
Bluetip,
Freddie Wadling,
Japan,
Janne Schatter,
Swell Maps,
Magazine,
Be Bop Deluxe,
Throbbing Gristle,
The Litter,
Young Marble Giants,
Wings,
Joyce Sims,
Camron Feat. Memphis Bleek And Beenie Seigel,
Selector Dub Narcotic,
The Monks,
Minnie Riperton,
Wolf Eyes,
Prince Buster,
Main Source,
Accadde A,
Public Image Ltd.,
Radiopuhelimet,
The Standells,
the Bar-Kays,
The Seeds,
Scan 7,
Cheater Slicks,
Nation of Ulysses,
Avey Tare's Slasher Flicks,
Fela Kuti,
Black Flag,
It's A Beautiful Day,
The Sisters of Mercy,
Sly & The Family Stone,
Kerri Chandler,
cv313,
Model 500,
Amon Düül,
Boredoms,
Stiv Bators,
Roy Ayers,
Danielle Patucci,
Crash Course in Science,
Stockholm Monsters,
Liliput,
The Residents,
The Count Five,
Lizzy Mercier Descloux,
Chris Corsano,
Pulsallama,
Rites of Spring,
Desert Stars,
Piero Umiliani,
Ornette Coleman,
Henry Cow, Henry Cow, Henry Cow, Henry Cow.
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.