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 Montenegro and from Stockholm.
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 1978.
I'm losing my edge.
To all the kids in Taipei and Mexico City.
I'm losing my edge to the art-school Spokane 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 harpsichord 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 Soul II Soul to the grime kids.
I played it at the Crocodile.
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 Stockholm Monsters. All the underground hits.
All New Order tracks. I heard you have a vinyl of every Schoolly D 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 '80s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Erasure record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
Pantytec,
Rotary Connection,
Oblivians,
Terrestrial Tones,
Subhumans,
DNA,
Marc Almond,
Hardrive,
PIL,
Grey Daturas,
Nico,
Marshall Jefferson,
The Motions,
Super Lover Cee & Casanova Rud,
Make Up,
Soul Sonic Force,
One Last Wish,
These Immortal Souls,
Funky Four + One,
The Selecter,
The Red Krayola,
The American Breed,
The Alarm Clocks,
Howard Jones,
Chris Corsano,
Bill Wells,
Jesper Dahlbäck,
Joensuu 1685,
Animal Collective,
The J.B.'s,
Gil Scott Heron,
Gian Franco Pienzio,
Alice Coltrane,
Glenn Branca,
The Flesh Eaters,
Jeru the Damaja,
Babytalk,
Lafayette Afro Rock Band,
Television Personalities,
The Wake,
The Buckinghams,
The Slackers,
Darondo,
The Invisible,
Skaos,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Adolescents,
Kenny Larkin,
The Trojans,
Mission of Burma,
Ludus,
Talk Talk,
Delon & Dalcan,
The Monks,
FM Einheit,
The Fugs,
OOIOO,
Flipper,
Röyhkä ja Rättö ja Lehtisalo,
Slave,
X-Ray Spex, X-Ray Spex, X-Ray Spex, X-Ray Spex.
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.