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 South Sudan and from Mexico City.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1965 to 1973.
I'm losing my edge.
To all the kids in Houston and Seoul.
I'm losing my edge to the art-school Manchester 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the harpsichord 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 United States of America to the punk kids.
I played it at the 40 Watt.
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 Kaleidoscope. All the underground hits.
All Derrick Morgan tracks. I heard you have a vinyl of every Eurythmics 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 '50s cut and another box set from the '70s.
I hear you're buying a snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Order,
The Vogues,
Popol Vuh,
Radiopuhelimet,
Glenn Branca,
Stiv Bators,
James White and The Blacks,
Steve Hackett,
The Smiths,
The Fuzztones,
Procol Harum,
Sparks,
Liaisons Dangereuses,
Al Stewart,
Electric Light Orchestra,
The Star Department,
The Leaves,
Alphaville,
Yusef Lateef,
Jawbox,
Michelle Simonal,
Colin Newman,
The Detroit Cobras,
Niagra,
A Certain Ratio,
Eve St. Jones,
John Coltrane,
Rowland S Howard / Lydia Lunch,
Angels of Light & Akron/Family,
Young Marble Giants,
Connie Case,
Gichy Dan,
The Real Kids,
Simply Red,
The Black Dice,
Tears for Fears,
Ronan,
N.O.R.E. Featuring Pharrell,
Vladislav Delay,
Traffic Nightmare,
Rufus Thomas,
Gary Puckett & The Union Gap,
Anthony Braxton,
The Beau Brummels,
Peter and Kerry,
Gabor Szabo,
Magazine,
Kerrie Biddell,
Marvin Gaye,
Throbbing Gristle,
Joe Smooth,
Gang Gang Dance,
Lou Reed & Metallica,
Cabaret Voltaire,
Gil Scott-Heron and Jamie xx,
Accadde A,
Rod Modell,
Glambeats Corp.,
Bobbi Humphrey,
Interpol, Interpol, Interpol, Interpol.
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.