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 Spain and from Johannesburg.
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 1972.
I'm losing my edge.
To all the kids in Taipei and Hong Kong.
I'm losing my edge to the art-school Milan 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 1978 at the first Visage practice in a loft in London.
I was working on the clarinet sounds with much patience.
I was there when Michael McDonald 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 the Slits to the punk kids.
I played it at the Troubador.
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 Radiohead. All the underground hits.
All Siglo XX tracks. I heard you have a vinyl of every The Golliwogs record on German import.
I heard that you have a white label of every seminal disco 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 spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fifty Foot Hose,
The Count Five,
Supertramp,
Heaven 17,
John Cale,
The Knickerbockers,
Tears for Fears,
Nas,
L. Decosne,
Grauzone,
Japan,
Maurizio,
Soulsonic Force,
Von Mondo,
Thinking Fellers Union Local 282,
Gong,
Delon & Dalcan,
D'Angelo,
Rotary Connection,
Amon Düül II,
Derrick Morgan,
Bluetip,
Laurel Aitken,
Parry Music,
Notorious BIG live in Amsterdam,
The Peanut Butter Conspiracy,
Eve St. Jones,
The New Christs,
Ornette Coleman,
The Cosmic Jokers,
Cal Tjader,
the Slits,
Chrome,
Mr. Review,
Ten City,
Tubeway Army,
Scott Walker + Sunn O))),
Pete Rock & C.L. Smooth,
The Dirtbombs,
The Tremeloes,
The Velvet Underground,
Buzzcocks,
Traffic Nightmare,
Young Marble Giants,
CMW,
Oppenheimer Analysis,
Röyhkä ja Rättö ja Lehtisalo,
Negative Approach,
Ronnie Foster,
Ajijia Myrayebe,
Black Flag,
Sällskapet,
This Heat,
Neil Young & Crazy Horse,
Fear,
the Soft Cell,
Procol Harum,
MC5,
Bang On A Can,
Khruangbin,
Lee Hazlewood,
In Retrospect, In Retrospect, In Retrospect, In Retrospect.
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.