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 Nigeria and from Houston.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1963 to 1974.
I'm losing my edge.
To all the kids in Halifax and Lille.
I'm losing my edge to the art-school Glasgow 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the oboe 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 Gary Puckett & The Union Gap to the disco 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 Circle Jerks. All the underground hits.
All Leonard Cohen tracks. I heard you have a vinyl of every The Real Kids record on German import.
I heard that you have a white label of every seminal grime 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 a spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Soft Cell record.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liliput,
John Lydon,
Dead Boys,
Mad Mike,
The Misunderstood,
The Monks,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Kerrie Biddell,
Peter and Kerry,
Grey Daturas,
The Saints,
Electric Prunes,
Boogie Down Productions,
Gian Franco Pienzio,
Black Moon,
Sexual Harrassment,
Porter Ricks,
Black Pus,
Althea and Donna,
Don Cherry,
Faraquet,
The Five Americans,
Major Organ And The Adding Machine,
Spandau Ballet,
Quadrant,
Reagan Youth,
Amazonics,
Leonard Cohen,
Robert Hood,
The Tremeloes,
Unrelated Segments,
Jesper Dahlback,
Q65,
The Birthday Party,
Nico,
Tres Demented,
10cc,
Strawberry Alarm Clock,
Ralphi Rosario,
The Wake,
The Knickerbockers,
Franke,
Morten Harket,
Idris Muhammad,
T.S.O.L.,
New York Dolls,
Warsaw,
Albert Ayler,
Siouxsie and the Banshees,
Graham Central Station,
Super Lover Cee & Casanova Rud,
Parry Music,
Fat Boys,
Kevin Saunderson,
Andrew Hill,
Scientists,
Deepchord,
Quantec,
Crime, Crime, Crime, Crime.
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.