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 Mali and from Spokane.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Stockholm.
I'm losing my edge to the art-school Halifax 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 Michael McDonald 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 X-101 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 Marine Girls. All the underground hits.
All Adolescents tracks. I heard you have a vinyl of every Second Layer record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a the Sonics record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Tremeloes,
Rekid,
Public Image Ltd.,
John Foxx,
Fat Boys,
Section 25,
Albert Ayler,
Mo-Dettes,
The Invisible,
Roger Hodgson,
Neil Young,
Roxette,
Richard Hell and the Voidoids,
Cabaret Voltaire,
Moss Icon,
Gil Scott-Heron and Jamie xx,
Siouxsie and the Banshees,
MC5,
Monks,
Donny Hathaway,
Michelle Simonal,
Lyres,
Sarah Menescal,
Joey Negro,
X-102,
Gerry Rafferty,
The Neon Judgement,
Strawberry Alarm Clock,
Unrelated Segments,
The Pop Group,
Hashim,
Teenage Jesus and the Jerks,
The Zeros,
cv313,
Harmonia,
Magazine,
H. Thieme,
The New Christs,
Max Romeo,
Erasure,
the Bar-Kays,
Gil Scott Heron,
Swell Maps,
Rowland S Howard / Lydia Lunch,
The Fall,
Fluxion,
Swans,
Ultravox,
Johnny Osbourne,
Kas Product,
Shoche,
Röyhkä ja Rättö ja Lehtisalo,
Pere Ubu,
Lakeside,
Von Mondo,
Echospace,
Arthur Verocai,
The Raincoats,
Deakin,
Moby Grape,
Monolake,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.