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 Somalia and from Winnipeg.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1975.
I'm losing my edge.
To all the kids in Manila and Johannesburg.
I'm losing my edge to the art-school London 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 linndrum 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 Camron Feat. Memphis Bleek And Beenie Seigel to the funk 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 The Associates. All the underground hits.
All June of 44 tracks. I heard you have a vinyl of every The Human League record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Jesus and Mary Chain,
Clear Light,
JFA,
Black Moon,
Jerry's Kids,
Slave,
Magma,
Basic Channel,
Boredoms,
Lou Christie,
Flash Fearless,
In Retrospect,
The Monks,
Throbbing Gristle,
Cymande,
The Sound,
Mad Mike,
Marc Romboy vs. Booka Shade,
MC5,
Albert Ayler,
Vainqueur,
Max Romeo,
Kayak,
Boogie Down Productions,
Morten Harket,
The Men They Couldn't Hang,
Goldenarms,
Eli Mardock,
Fifty Foot Hose,
Yazoo,
Soft Cell,
Marshall Jefferson,
China Crisis,
The Modern Lovers,
ABC,
Groovy Waters,
Joyce Sims,
The Slits,
Motorama,
The Cosmic Jokers,
The Litter,
Jesper Dahlback,
Curtis Mayfield,
Althea and Donna,
Scrapy,
Parry Music,
Masters at Work,
Toni Rubio,
Sandy B,
Depeche Mode,
Gary Puckett & The Union Gap,
Sparks,
Aaron Thompson,
Tommy Roe,
Newcleus,
Notorious Big And Bone Thugs,
Sound Behaviour,
Barclay James Harvest,
The Count Five,
Whodini,
Minutemen, Minutemen, Minutemen, Minutemen.
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.