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 Zambia and from Philadelphia.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Tehran.
I'm losing my edge to the art-school Salvador 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 Second Layer practice in a loft in South London.
I was working on the theremin sounds with much patience.
I was there when Lou Reed 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 Erasure to the disco kids.
I played it at Trash.
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 Martian. All the underground hits.
All Larry & the Blue Notes tracks. I heard you have a vinyl of every The Real Kids record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Warsaw record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mo-Dettes,
June Days,
The West Coast Pop Art Experimental Band,
Icehouse,
The Star Department,
Quantec,
Pussy Galore,
New Age Steppers,
T. Rex,
The Skatalites,
8 Eyed Spy,
Skarface,
Flash Fearless,
Outsiders,
Drive Like Jehu,
Manfred Mann's Earth Band,
The Monochrome Set,
Matthew Halsall,
Judy Mowatt,
John Holt,
Cluster,
Aaron Thompson,
The Sound,
Ken Boothe,
The Litter,
Juan Atkins,
Robert Görl,
Swans,
Traffic Nightmare,
The Remains,
the Swans,
In Retrospect,
Barclay James Harvest,
Andrew Ashong & Theo Parrish,
Babytalk,
The Fugs,
JFA,
Camouflage,
Jerry Gold Smith,
Glenn Branca,
The Leaves,
Youth Brigade,
The Angels of Light,
Bush Tetras,
Sexual Harrassment,
Con Funk Shun,
Vladislav Delay,
Kaleidoscope,
Buzzcocks,
Eurythmics,
Goldenarms,
Circle Jerks,
Freddie Wadling,
Maleditus Sound,
The Gap Band,
Bobby Womack,
Black Moon,
The Dirtbombs,
Barry Ungar,
Arcadia, Arcadia, Arcadia, Arcadia.
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.