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 Honduras and from Bremen.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Paris and Taipei.
I'm losing my edge to the art-school Mumbai 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator 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 Jeff Lynne to the disco kids.
I played it at the Hacienda.
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 Suburban Knight. All the underground hits.
All Terry Callier tracks. I heard you have a vinyl of every the Slits record on German import.
I heard that you have a white label of every seminal techno 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 an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Angels of Light record.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siouxsie and the Banshees,
Siglo XX,
Qualms,
AZ,
Cabaret Voltaire,
The Stooges,
Grandmaster Flash,
Gary Puckett & The Union Gap,
The Selecter,
Thee Headcoats,
The Misunderstood,
Kenny Larkin,
Gil Scott-Heron and Jamie xx,
Harry Pussy,
Heavy D & The Boyz,
Lindisfarne,
Marmalade,
The Wake,
Flipper,
The Evens,
Delon & Dalcan,
Eve St. Jones,
Ornette Coleman,
Louis and Bebe Barron,
The Names,
Mad Mike,
Andrew Hill,
Jeru the Damaja,
Tom Boy,
Sparks,
Bootsy Collins,
Spoonie Gee,
Oblivians,
Cheater Slicks,
The New Christs,
Larry & the Blue Notes,
Amon Düül II,
Shuggie Otis,
T.S.O.L.,
Hardrive,
Wire,
Aswad,
The Electric Prunes,
De La Soul & Jungle Brothers,
Metal Thangz,
Black Sheep,
Symarip,
The American Breed,
Nik Kershaw,
Neil Young & Crazy Horse,
Spandau Ballet,
Soft Cell,
Neil Young,
Bobby Sherman,
The Searchers,
World's Most,
The Motions,
MDC,
Infiniti,
FM Einheit,
The Trojans,
Dark Day,
Yusef Lateef, Yusef Lateef, Yusef Lateef, Yusef Lateef.
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.