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 Belarus and from Salvador.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Bremen and Glasgow.
I'm losing my edge to the art-school Edmonton 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the guitar sounds with much patience.
I was there when Holger Czukay 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 crunk 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 Soft Machine. All the underground hits.
All Sugar Minott tracks. I heard you have a vinyl of every Davy DMX record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Silicon Teens record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-102,
La Düsseldorf,
John Lydon,
The Black Dice,
John Holt,
Bauhaus,
Masters at Work,
Jesper Dahlback,
Infiniti,
Notorious Big And Bone Thugs,
The Chocolate Watch Band,
The Motions,
The Toasters,
Japan,
Bobby Hutcherson,
Kool G Rap & DJ Polo,
Lindisfarne,
Sly & The Family Stone,
Organ,
The Star Department,
Reagan Youth,
Stockholm Monsters,
Sugar Minott,
Janne Schatter,
Agent Orange,
Porter Ricks,
Siouxsie and the Banshees,
Lightning Bolt,
Rapeman,
Amazonics,
Boogie Down Productions,
Andrew Hill,
These Immortal Souls,
Brass Construction,
Mary Jane Girls,
A Flock of Seagulls,
Derrick May,
Red Lorry Yellow Lorry,
the Germs,
Quadrant,
The Neon Judgement,
PIL,
Freddie Wadling,
It's A Beautiful Day,
The Dave Clark Five,
Brick,
Tomorrow,
The Martian,
Piero Umiliani,
Gerry Rafferty,
Fela Kuti,
Alison Limerick,
Pharaoh Sanders and the Fire Engines,
Zapp,
Juan Atkins,
Anthony Braxton,
Subhumans,
The Real Kids,
Nick Cave & The Bad Seeds,
The Cure,
Soft Cell,
Bootsy's Rubber Band,
The Moleskins, The Moleskins, The Moleskins, The Moleskins.
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.