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 Djibouti and from Mexico City.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Milan and Bologna.
I'm losing my edge to the art-school Milan 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 1984 at the first Arcadia practice in a loft in London.
I was working on the oboe 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 Laurel Aitken to the jazz kids.
I played it at the Troubador.
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 Shadows of Knight. All the underground hits.
All Warsaw tracks. I heard you have a vinyl of every U.S. Maple record on German import.
I heard that you have a white label of every seminal disco 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 linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Delta 5 record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
The Peanut Butter Conspiracy,
Livin' Joy,
The Chocolate Watch Band,
Moss Icon,
The Cosmic Jokers,
PIL,
Mark Hollis,
The Tremeloes,
Tommy Roe,
The Men They Couldn't Hang,
Pulsallama,
Erasure,
Stockholm Monsters,
Tropical Tobacco,
Main Source,
Bobby Hutcherson,
The Fugs,
Eric Copeland,
The Gun Club,
John Holt,
Brass Construction,
Ornette Coleman,
Mo-Dettes,
Marmalade,
Glenn Branca,
The Blues Magoos,
Liaisons Dangereuses,
Ajijia Myrayebe,
Electric Light Orchestra,
Cabaret Voltaire,
Roy Ayers,
The Star Department,
Josef K,
Suicide,
Ash Ra Tempel,
Black Bananas,
Alton Ellis,
Franke,
Smog,
London Community Gospel Choir,
Model 500,
Bang on a Can All-Stars,
The Music Machine,
Terry Callier,
Morten Harket,
The New Christs,
Jeff Lynne,
Sällskapet,
Lucky Dragons,
Nico,
Orchestral Manoeuvres in the Dark,
The Cure,
The Cowsills,
Hashim,
H. Thieme,
Negative Approach,
Johnny Clarke,
Fear,
The Offenders,
James Chance & The Contortions,
Thee Headcoats, Thee Headcoats, Thee Headcoats, Thee Headcoats.
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.