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 Haiti and from Paris.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Lyon and Copenhagen.
I'm losing my edge to the art-school Copenhagen 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the harpsichord sounds with much patience.
I was there when Michael McDonald 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 China Crisis to the punk kids.
I played it at the Hacienda.
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 Doobie Brothers. All the underground hits.
All Sight & Sound tracks. I heard you have a vinyl of every Minor Threat record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joyce Sims,
Josef K,
Delta 5,
Nik Kershaw,
Chris & Cosey,
Arab on Radar,
Radiohead,
Pole,
Ituana,
Ten City,
Niagra,
Pere Ubu,
Joy Division,
Rufus Thomas,
Liaisons Dangereuses,
CMW,
Lyres,
Massinfluence,
Iggy Pop,
The Gap Band,
The Human League,
Eli Mardock,
Richard Hell and the Voidoids,
Goldenarms,
Minny Pops,
Royal Trux,
ABC,
The Remains,
Sixth Finger,
Ronnie Foster,
Circle Jerks,
The Skatalites,
Desert Stars,
Todd Rundgren,
Faust,
The Cramps,
Television,
The Moody Blues,
Bluetip,
Quando Quango,
Robert Görl,
Bauhaus,
The Men They Couldn't Hang,
Spandau Ballet,
Glambeats Corp.,
Connie Case,
Electric Light Orchestra,
Wally Richardson,
The Jesus and Mary Chain,
Monks,
Carl Craig,
Erasure,
MC5,
Quantec,
Black Moon,
Gian Franco Pienzio,
The Residents,
Janne Schatter,
Bill Wells,
Terrestrial Tones,
the Slits,
Tommy Roe, Tommy Roe, Tommy Roe, Tommy Roe.
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.