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 Nigeria and from Lille.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1972.
I'm losing my edge.
To all the kids in Copenhagen and Hong Kong.
I'm losing my edge to the art-school Shanghai 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 Lou Reed 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 Urselle to the jazz 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 This Heat. All the underground hits.
All The Mojo Men tracks. I heard you have a vinyl of every Grandmaster Flash and the Furious Five record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s 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 Vainqueur record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cal Tjader,
Section 25,
Pantaleimon,
The Monks,
Gil Scott-Heron and Jamie xx,
The Real Kids,
Black Pus,
Brick,
Lower 48,
Laurel Aitken,
Camberwell Now,
The J.B.'s,
The Alarm Clocks,
Tom Boy,
These Immortal Souls,
The Blues Magoos,
Andrew Hill,
The Doobie Brothers,
The Fugs,
Orchestral Manoeuvres in the Dark,
The Sisters of Mercy,
Fort Wilson Riot,
Sugar Minott,
Slave,
The Toasters,
The Zeros,
Ronnie Foster,
E-Dancer,
the Swans,
Con Funk Shun,
Groovy Waters,
The Smiths,
Erasure,
Rekid,
the Association,
Rhythm & Sound,
Bob Dylan,
Nik Kershaw,
Y Pants,
Lakeside,
Idris Muhammad,
Alphaville,
Shoche,
The Fire Engines,
Siglo XX,
Anakelly,
Jesper Dahlbäck,
Mission of Burma,
Quando Quango,
Lungfish,
The Peanut Butter Conspiracy,
Suburban Knight,
Index,
Derrick Morgan,
The Remains,
Gabor Szabo,
Barry Ungar,
Trumans Water,
Black Moon,
Vladislav Delay,
Rufus Thomas,
Essential Logic,
Icehouse,
Dead Boys, Dead Boys, Dead Boys, Dead Boys.
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.