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 Chad and from Stockholm.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Beijing and Tokyo.
I'm losing my edge to the art-school New York 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 spring reverb sounds with much patience.
I was there when Holger Czukay 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 UT to the grime kids.
I played it at the Astoria.
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 Gastr Del Sol. All the underground hits.
All Index tracks. I heard you have a vinyl of every New Order record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Althea and Donna record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swell Maps,
The American Breed,
Suicide,
Scion,
Juan Atkins,
Dave Gahan,
The Busters,
Mars,
Symarip,
Cybotron,
Inner City,
The Vogues,
Audionom,
Warsaw,
Marshall Jefferson,
Bauhaus,
The Moleskins,
Ultravox,
The Skatalites,
Louis and Bebe Barron,
Blossom Toes,
Lebanon Hanover,
Clear Light,
Electric Light Orchestra,
Jacques Brel,
Barbara Tucker,
Prince Buster,
Jandek,
Rhythim Is Rhythim,
Zapp,
Royal Trux,
Electric Prunes,
Spandau Ballet,
Ken Boothe,
Brick,
MDC,
New Age Steppers,
Camberwell Now,
Kevin Saunderson,
The Angels of Light,
The Royal Family And The Poor,
CMW,
Althea and Donna,
Skarface,
Orchestral Manoeuvres in the Dark,
June of 44,
Nation of Ulysses,
Letta Mbulu,
The Selecter,
Talk Talk,
DeepChord presents Echospace,
Marcia Griffiths,
Black Moon,
Tim Buckley,
Pharoah Sanders,
48th St. Collective,
Nils Olav,
Hoover,
A Flock of Seagulls,
Kerrie Biddell,
Ralphi Rosario,
Can,
the Slits, the Slits, the Slits, the Slits.
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.