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 Mauritius and from Toronto.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and Manila.
I'm losing my edge to the art-school Stockholm 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 marimba 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 Big Daddy Kane to the grime kids.
I played it at the Crocodile.
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 Art Ensemble Of Chicago. All the underground hits.
All Black Flag tracks. I heard you have a vinyl of every Unrelated Segments record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Fugazi record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quando Quango,
Peter and Kerry,
The Raincoats,
John Holt,
Tomorrow,
Isaac Hayes,
the Normal,
Pete Rock & C.L. Smooth,
Mo-Dettes,
Grandmaster Flash and the Furious Five,
Sunsets and Hearts,
Outsiders,
Nico,
Index,
Man Parrish,
James Chance & The Contortions,
H. Thieme,
Derrick May,
Swell Maps,
The Mighty Diamonds,
Ash Ra Tempel,
Technova,
Lizzy Mercier Descloux,
Anthony Braxton,
U.S. Maple,
Henry Cow,
Dual Sessions,
Bauhaus,
Eli Mardock,
Newcleus,
Harmonia,
Flamin' Groovies,
Lonnie Liston Smith,
Intrusion,
The Men They Couldn't Hang,
UT,
Electric Light Orchestra,
Faust,
The New Christs,
Funky Four + One,
Surgeon,
The Peanut Butter Conspiracy,
The Flesh Eaters,
Pussy Galore,
Depeche Mode,
Cameo,
Minny Pops,
The Electric Prunes,
X-102,
Magma,
Richard Hell and the Voidoids,
This Heat,
Lou Reed,
Donny Hathaway,
Juan Atkins,
the Soft Cell,
Curtis Mayfield,
The Last Poets,
Dead Boys,
Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks.
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.