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 Andorra and from Tehran.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Mexico City and Accra.
I'm losing my edge to the art-school Portland 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 Human League practice in a loft in Sheffield.
I was working on the sitar sounds with much patience.
I was there when David Bowie 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 Porter Ricks to the electroclash 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 Robert Görl. All the underground hits.
All Judy Mowatt tracks. I heard you have a vinyl of every The Grass Roots record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Shadows of Knight record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Negative Approach,
The Associates,
Wasted Youth,
Shoche,
Alison Limerick,
Manfred Mann's Earth Band,
Suicide,
Pylon,
The Monks,
Iggy Pop,
Quantec,
a-ha,
Y Pants,
Man Parrish,
John Foxx,
Chris Corsano,
The Sisters of Mercy,
Ralphi Rosario,
Minny Pops,
Black Bananas,
Severed Heads,
The Selecter,
Technova,
Nick Cave & The Bad Seeds,
Eli Mardock,
Spoonie Gee,
Kauko Röyhkä ja Narttu,
Fort Wilson Riot,
Throbbing Gristle,
Lucky Dragons,
Johnny Osbourne,
Grauzone,
Ohio Players,
Leonard Cohen,
The Tremeloes,
The Skatalites,
The Golliwogs,
Echospace,
Pharaoh Sanders and the Fire Engines,
Anakelly,
The Busters,
Richard Hell and the Voidoids,
Scrapy,
Eric Copeland,
Mad Mike,
Amon Düül,
Masters at Work,
the Soft Cell,
June of 44,
Moss Icon,
Excepter,
Nick Fraelich,
Silicon Teens,
Kango’s Stein Massive,
Arcadia,
Gregory Isaacs,
Fifty Foot Hose,
DNA,
Grandmaster Flash and the Furious Five,
The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang.
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.