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 St Kitts & Nevis and from Johannesburg.
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 1960 to 1979.
I'm losing my edge.
To all the kids in New York and Woodstock.
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 mellotron 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 Wings to the crunk 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 Pretty Things. All the underground hits.
All Rufus Thomas tracks. I heard you have a vinyl of every Toni Rubio record on German import.
I heard that you have a white label of every seminal punk 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 rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a John Lydon record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
Q and Not U,
The Beau Brummels,
Drive Like Jehu,
Pet Shop Boys,
Boredoms,
Bootsy Collins,
Grandmaster Flash and the Furious Five,
AZ,
New Age Steppers,
Pantytec,
Sunsets and Hearts,
Oblivians,
Livin' Joy,
ABBA,
Peter & Gordon,
Second Layer,
Dorothy Ashby,
Ten City,
Amon Düül II,
Dead Boys,
Bush Tetras,
Hot Snakes,
Magazine,
The Pop Group,
Peter Gordon & Love of Life Orchestra,
Big Daddy Kane,
The Golliwogs,
Max Romeo,
The Mighty Diamonds,
Marc Romboy vs. Booka Shade,
Von Mondo,
Average White Band,
Nick Cave & The Bad Seeds,
The Evens,
The Blackbyrds,
John Holt,
Yellowson,
The American Breed,
The Human League,
Gregory Isaacs,
Marvin Gaye,
Technova,
The Music Machine,
The Jesus and Mary Chain,
The Fire Engines,
Jimmy McGriff,
Scott Walker,
Funky Four + One,
Tommy Roe,
Brass Construction,
Be Bop Deluxe,
Cluster,
Ultra Naté,
Minutemen,
PIL,
Niagra,
Parry Music,
Robert Hood,
Saccharine Trust,
The Gladiators, The Gladiators, The Gladiators, The Gladiators.
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.