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 Germany and from Paris.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1968 to 1971.
I'm losing my edge.
To all the kids in New York and Philadelphia.
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 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 Tom Verlaine 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 Cecil Taylor to the punk kids.
I played it at the Roxy.
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 Judy Mowatt. All the underground hits.
All Peter Gordon & Love of Life Orchestra tracks. I heard you have a vinyl of every Peter Gordon & Love of Life Orchestra 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 '80s.
I hear you're buying a spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Ken Boothe record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Procol Harum,
Rhythim Is Rhythim,
Gil Scott Heron,
Goldenarms,
The Fortunes,
T.S.O.L.,
Super Lover Cee & Casanova Rud,
These Immortal Souls,
Malaria!,
Thompson Twins,
Orchestral Manoeuvres in the Dark,
Alton Ellis,
John Holt,
The Tremeloes,
The Cowsills,
The Cure,
Gil Scott-Heron & Brian Jackson,
Shoche,
Pantytec,
Fifty Foot Hose,
Index,
Smog,
Wasted Youth,
Larry & the Blue Notes,
Mandrill,
Fear,
Shuggie Otis,
Bill Wells,
The Litter,
Glambeats Corp.,
Scan 7,
Nico,
Fluxion,
DJ Style,
The Gladiators,
Eurythmics,
Roger Hodgson,
The Remains,
Anakelly,
Jesper Dahlbäck,
Newcleus,
Arthur Verocai,
Bootsy's Rubber Band,
Flamin' Groovies,
Tears for Fears,
June of 44,
Brothers Johnson,
Morten Harket,
Bobby Womack,
Massinfluence,
Au Pairs,
Q and Not U,
PIL,
Funkadelic,
Babytalk,
T. Rex,
Warren Ellis,
Brick,
Stockholm Monsters,
Fugazi,
The Modern Lovers,
Technova, Technova, Technova, Technova.
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.