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 Grenada and from Winnipeg.
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 1977.
I'm losing my edge.
To all the kids in Philadelphia and Beijing.
I'm losing my edge to the art-school Stockholm 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 rhodes 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 The J.B.'s to the techno 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 The Electric Prunes. All the underground hits.
All Tommy Roe tracks. I heard you have a vinyl of every The Cowsills record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Motions,
Darondo,
Pylon,
The Slits,
Sound Behaviour,
Iggy Pop,
Pierre Henry,
Bootsy Collins,
Black Pus,
Hashim,
Grandmaster Flash and the Furious Five,
Nico,
Arab on Radar,
The Electric Prunes,
Bill Near,
The Selecter,
Fluxion,
Lakeside,
The J.B.'s,
Justin Hinds & The Dominoes,
Lou Christie,
Derrick Morgan,
Buzzcocks,
Saccharine Trust,
The United States of America,
Oppenheimer Analysis,
Eden Ahbez,
Lizzy Mercier Descloux,
Delta 5,
Quadrant,
Liliput,
Don Cherry,
Bobby Sherman,
Aswad,
The West Coast Pop Art Experimental Band,
Siglo XX,
The Gun Club,
Los Fastidios,
Gil Scott-Heron and Jamie xx,
Marc Almond,
Jerry Gold Smith,
The Martian,
David Axelrod,
Swell Maps,
John Coltrane,
Sight & Sound,
Ultra Naté,
Harmonia,
Davy DMX,
Stiv Bators,
Isaac Hayes,
Black Moon,
The Fuzztones,
Sticky Fingaz feat. Raekwon,
Scrapy,
Barrington Levy,
E-Dancer,
Crispy Ambulance,
Thompson Twins,
Suburban Knight,
Pantytec, Pantytec, Pantytec, Pantytec.
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.