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 Albania and from New York.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Salvador and Taipei.
I'm losing my edge to the art-school Lille 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 1978 at the first Visage practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 Black Moon 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 Oblivians. All the underground hits.
All The Motions tracks. I heard you have a vinyl of every Aural Exciters 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 '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Niagra record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
Orchestral Manoeuvres in the Dark,
The Royal Family And The Poor,
Das Ding,
The Motions,
Theoretical Girls,
E-Dancer,
Aaron Thompson,
Spandau Ballet,
The Angels of Light,
The Real Kids,
Gichy Dan,
Lou Reed & John Cale,
Throbbing Gristle,
Scion,
Brass Construction,
Agent Orange,
Al Stewart,
Pharaoh Sanders and the Fire Engines,
10cc,
Yazoo,
Captain Beefheart & His Magic Band,
Babytalk,
Eddi Front,
The Litter,
Ken Boothe,
Janne Schatter,
Crash Course in Science,
Gang Green,
Electric Prunes,
OOIOO,
Yusef Lateef,
Minny Pops,
the Association,
Interpol,
Panda Bear,
The Busters,
Scott Walker + Sunn O))),
The Gladiators,
The Offenders,
David Axelrod,
Howard Jones,
Harmonia,
Rufus Thomas,
Donald Byrd,
Loose Ends,
David Bowie,
Massinfluence,
Bronski Beat,
Gary Puckett & The Union Gap,
Sugar Minott,
the Human League,
Amon Düül II,
Television,
Idris Muhammad,
The Beau Brummels,
Curtis Mayfield,
Agitation Free,
The Names,
Faraquet,
Ronnie Foster,
Masters at Work,
Faust, Faust, Faust, Faust.
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.