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 Ghana and from Bremen.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Tehran and Portland.
I'm losing my edge to the art-school Cairo 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 synthesizer 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 Alton Ellis to the grime 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 Lakeside. All the underground hits.
All Michelle Simonal tracks. I heard you have a vinyl of every Lightning Bolt 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 '80s cut and another box set from the '70s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Infiniti record.
I hear that you and your band have sold your synthesizer and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cure,
Nas,
Arab on Radar,
A Flock of Seagulls,
the Bar-Kays,
Eden Ahbez,
Smog,
Kerrie Biddell,
The Angels of Light,
Jeff Mills,
F. McDonald,
Q65,
Television,
Deadbeat,
Basic Channel,
Young Marble Giants,
Kas Product,
Ludus,
Loose Ends,
Scan 7,
ABC,
Derrick Morgan,
Tim Buckley,
the Normal,
Super Lover Cee & Casanova Rud,
Lou Reed,
Shoche,
Pere Ubu,
Deakin,
Glambeats Corp.,
Tears for Fears,
Sällskapet,
Tubeway Army,
Marine Girls,
Wally Richardson,
Robert Hood,
Matthew Bourne,
Fugazi,
Piero Umiliani,
8 Eyed Spy,
Swell Maps,
Black Flag,
Ponytail,
Nirvana,
Siglo XX,
Skriet,
Malaria!,
Darondo,
Sam Rivers,
Aural Exciters,
The Blackbyrds,
Theoretical Girls,
Bobby Womack,
Franke,
Magazine,
The Doobie Brothers,
Röyhkä ja Rättö ja Lehtisalo,
In Retrospect,
Danielle Patucci,
Suburban Knight,
Delon & Dalcan,
Lalo Schifrin,
Public Image Ltd.,
Subhumans,
Oblivians, Oblivians, Oblivians, Oblivians.
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.