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 Italy and from Madrid.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Taipei and Sao Paulo.
I'm losing my edge to the art-school New York 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the mellotron sounds with much patience.
I was there when Michael McDonald 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 the Soft Cell to the dance 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 Deepchord. All the underground hits.
All a-ha tracks. I heard you have a vinyl of every The Walker Brothers 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 '60s cut and another box set from the '80s.
I hear you're buying a guitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slits,
Dual Sessions,
The Doobie Brothers,
Wighnomy Brothers & Robag Wruhme,
Sparks,
Ossler,
Pagans,
Crime,
Wally Richardson,
Drexciya,
The Fall,
Neil Young & Crazy Horse,
Camouflage,
The Evens,
Reagan Youth,
Quando Quango,
Joe Finger,
Con Funk Shun,
Flash Fearless,
R.M.O.,
DeepChord presents Echospace,
Heavy D & The Boyz,
Pole,
Fear,
Sex Pistols,
Bronski Beat,
the Sonics,
Cameo,
MC5,
Dark Day,
The Dead C,
Gastr Del Sol,
Man Parrish,
Brass Construction,
Jesper Dahlback,
Marvin Gaye,
Mandrill,
The Smoke,
Masters at Work,
Dawn Penn,
Maleditus Sound,
Boredoms,
London Community Gospel Choir,
Black Bananas,
Cymande,
Q and Not U,
The Mummies,
Hardrive,
Ludus,
Iggy Pop,
Red Lorry Yellow Lorry,
Bizarre Inc.,
John Lydon,
Eddi Front,
Tim Buckley,
Tropical Tobacco,
Rufus Thomas,
Pet Shop Boys,
Be Bop Deluxe,
Blake Baxter,
Kerrie Biddell,
Tom Boy,
Intrusion,
Charles Mingus,
The Knickerbockers, The Knickerbockers, The Knickerbockers, The Knickerbockers.
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.