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 Uruguay and from Halifax.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1972.
I'm losing my edge.
To all the kids in Tokyo and Copenhagen.
I'm losing my edge to the art-school London 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 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 Section 25 to the disco kids.
I played it at Cafe Wha.
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 kango's stein massive. All the underground hits.
All Trumans Water tracks. I heard you have a vinyl of every Louis and Bebe Barron record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
This Heat,
Skriet,
Newcleus,
Orchestral Manoeuvres in the Dark,
Urselle,
John Holt,
Brass Construction,
Liliput,
The Red Krayola,
Man Eating Sloth,
Camron Feat. Memphis Bleek And Beenie Seigel,
Schoolly D,
Boz Scaggs,
The Detroit Cobras,
Lou Christie,
Rod Modell,
Sonic Youth,
Jeru the Damaja,
Archie Shepp,
The Peanut Butter Conspiracy,
Ultravox,
Wighnomy Brothers & Robag Wruhme,
Nick Cave & The Bad Seeds,
ABBA,
Man Parrish,
The West Coast Pop Art Experimental Band,
Jacob Miller,
Manfred Mann's Earth Band,
Erykah Badu,
Gong,
Whodini,
Boredoms,
Bobby Sherman,
New Age Steppers,
Gregory Isaacs,
Lonnie Liston Smith,
Cameo,
The Shadows of Knight,
Lee Hazlewood,
These Immortal Souls,
Metal Thangz,
Arab on Radar,
The Real Kids,
The Doobie Brothers,
Wolf Eyes,
Bill Wells,
Moebius,
The Wake,
ABC,
the Human League,
Mantronix,
The Cramps,
Fear,
Marmalade,
The American Breed,
David Axelrod,
Sister Nancy,
The Jesus and Mary Chain,
The Sisters of Mercy,
Goldenarms,
The Angels of Light,
Judy Mowatt, Judy Mowatt, Judy Mowatt, Judy Mowatt.
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.