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 Comoros and from Hong Kong.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Salvador and Bologna.
I'm losing my edge to the art-school Madrid 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the linndrum sounds with much patience.
I was there when Captain Beefheart 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 Notorious Big And Bone Thugs to the dance kids.
I played it at CBGB's.
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 Kurtis Blow. All the underground hits.
All Dead Boys tracks. I heard you have a vinyl of every Slave 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 '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Isaac Hayes record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Motions,
Bill Near,
Massinfluence,
Deepchord,
Peter Gordon & Love of Life Orchestra,
Prince Buster,
X-102,
Ash Ra Tempel,
The Leaves,
Tomorrow,
A Certain Ratio,
The Invisible,
Sister Nancy,
Lou Reed & Metallica,
Tres Demented,
Wasted Youth,
The Smoke,
Connie Case,
X-Ray Spex,
Q65,
Funky Four + One,
Gian Franco Pienzio,
Suburban Knight,
The Remains,
Mary Jane Girls,
The Pretty Things,
Gabor Szabo,
Jeff Lynne,
Grey Daturas,
ABC,
Joe Finger,
Arab on Radar,
Rotary Connection,
Roy Ayers,
Sly & The Family Stone,
Scan 7,
Blake Baxter,
Teenage Jesus and the Jerks,
Half Japanese,
Curtis Mayfield,
Roxette,
Banda Bassotti,
Stetsasonic,
Black Sheep,
Echo & the Bunnymen,
CMW,
Skaos,
Slave,
John Holt,
Eden Ahbez,
Delon & Dalcan,
Jerry's Kids,
JFA,
Minutemen,
Brass Construction,
Young Marble Giants,
Terrestrial Tones,
Man Eating Sloth,
Ultravox,
Kerrie Biddell, Kerrie Biddell, Kerrie Biddell, Kerrie Biddell.
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.