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 Sri Lanka and from Seoul.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Manchester and Madrid.
I'm losing my edge to the art-school Tehran 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 Nile Rodgers 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 Wasted Youth to the grunge 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 Hardrive. All the underground hits.
All The Modern Lovers tracks. I heard you have a vinyl of every Erasure record on German import.
I heard that you have a white label of every seminal dance 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 harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Rites of Spring record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Stiv Bators,
Oblivians,
Warsaw,
Crooked Eye,
World's Most,
The Techniques,
Eric Dolphy,
The Electric Prunes,
Monks,
Liaisons Dangereuses,
Electric Prunes,
Aaron Thompson,
Amon Düül,
The West Coast Pop Art Experimental Band,
Stetsasonic,
Fifty Foot Hose,
James Chance & The Contortions,
Quando Quango,
The Saints,
Electric Light Orchestra,
Massinfluence,
Joyce Sims,
Kool G Rap & DJ Polo,
Erasure,
Ponytail,
The Doobie Brothers,
Gang of Four,
Tears for Fears,
The Last Poets,
Bad Manners,
Black Moon,
8 Eyed Spy,
Kevin Saunderson,
T.S.O.L.,
Susan Cadogan,
Lakeside,
The Grass Roots,
Wolf Eyes,
Byron Stingily,
Scrapy,
Warren Ellis,
Agitation Free,
Y Pants,
Index,
Laurel Aitken,
The Names,
Theoretical Girls,
Neil Young,
Lalo Schifrin,
Johnny Clarke,
Juan Atkins,
Reagan Youth,
Camouflage,
Qualms,
Cluster,
Girls At Our Best!,
Ash Ra Tempel,
The Motions,
The Index,
Con Funk Shun,
Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks.
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.