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 Solomon Islands and from Woodstock.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Taipei.
I'm losing my edge to the art-school Accra 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the spring reverb sounds with much patience.
I was there when Robert Palmer 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 Altered Images to the jazz 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 Ultravox. All the underground hits.
All Alton Ellis tracks. I heard you have a vinyl of every Judy Mowatt record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Peter and Kerry record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Circle Jerks,
Quando Quango,
Piero Umiliani,
Khruangbin,
Janne Schatter,
Marmalade,
Gary Puckett & The Union Gap,
New Age Steppers,
Oppenheimer Analysis,
Nik Kershaw,
The Divine Comedy,
Rufus Thomas,
Tropical Tobacco,
Lou Reed & John Cale,
Girls At Our Best!,
Faraquet,
Amon Düül II,
The Modern Lovers,
Minor Threat,
Mo-Dettes,
Gabor Szabo,
China Crisis,
Niagra,
FM Einheit,
The Golliwogs,
Bill Wells,
Todd Rundgren,
Rakim,
Marcia Griffiths,
Althea and Donna,
Scientists,
Peter & Gordon,
The Monks,
Robert Hood,
Ossler,
Cabaret Voltaire,
Suicide,
Index,
The Techniques,
Roy Ayers Ubiquity,
Inner City,
Make Up,
The Fire Engines,
AZ,
Barrington Levy,
Panda Bear,
Wasted Youth,
Rites of Spring,
Graham Central Station,
Bob Dylan,
Scrapy,
Lalann,
Juan Atkins,
Larry & the Blue Notes,
Unwound,
Frankie Knuckles,
Jeff Lynne,
Talk Talk,
John Lydon,
The Sound,
Erasure,
The Dead C,
D'Angelo,
The American Breed, The American Breed, The American Breed, The American Breed.
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.