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 Laos and from Accra.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1964 to 1979.
I'm losing my edge.
To all the kids in Bologna and Tokyo.
I'm losing my edge to the art-school Beijing 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 chamberlin sounds with much patience.
I was there when Robert Palmer 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 Popol Vuh to the disco kids.
I played it at the 40 Watt.
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 Laurel Aitken. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every Fatback Band 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 '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Echo & the Bunnymen record.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radio Birdman,
Morten Harket,
Yaz,
Stiv Bators,
Can,
K-Klass,
Motorama,
The Grass Roots,
Liaisons Dangereuses,
The Offenders,
Massinfluence,
The Sisters of Mercy,
Sexual Harrassment,
Bang on a Can All-Stars,
Country Teasers,
The Standells,
Hashim,
Sun City Girls,
Pharoah Sanders,
Gang Green,
Aaron Thompson,
James Chance & The Contortions,
Sight & Sound,
Rapeman,
New Order,
Gil Scott-Heron and Jamie xx,
Visionaries,LMNO, T- Love & Iriscience,
Amon Düül,
Eve St. Jones,
Robert Wyatt,
Ultravox,
Vaughan Mason & Crew,
Japan,
Erasure,
Lakeside,
DJ Sneak,
Electric Prunes,
Rowland S Howard / Lydia Lunch,
Unwound,
kango's stein massive,
Marc Romboy vs. Booka Shade,
The Flesh Eaters,
48th St. Collective,
Jimmy McGriff,
Negative Approach,
Cecil Taylor,
Dawn Penn,
In Retrospect,
Harmonia,
Blossom Toes,
Scion,
Spandau Ballet,
Camberwell Now,
Brothers Johnson,
Frankie Knuckles,
Scientists,
Au Pairs,
Section 25,
Blake Baxter,
Kenny Larkin,
Byron Stingily,
Notorious BIG live in Amsterdam,
Theoretical Girls,
Steve Hackett, Steve Hackett, Steve Hackett, Steve Hackett.
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.