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 St Lucia and from Hong Kong.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Lille and Stockholm.
I'm losing my edge to the art-school Johannesburg 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 spring reverb 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 Crash Course in Science to the dance 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 The Detroit Cobras. All the underground hits.
All Lafayette Afro Rock Band tracks. I heard you have a vinyl of every The Men They Couldn't Hang record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Cymande record.
I hear that you and your band have sold your theremin and bought a güiro.
I hear that you and your band have sold your güiro and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Standells,
The Fall,
a-ha,
Little Man,
Delon & Dalcan,
New Age Steppers,
Connie Case,
The Names,
Ultimate Spinach,
Lungfish,
Roy Ayers,
Lucky Dragons,
The Doors,
Sun City Girls,
Robert Görl,
Liaisons Dangereuses,
Bobby Hutcherson,
Black Sheep,
Harpers Bizarre,
Blake Baxter,
Lindisfarne,
Erasure,
Cal Tjader,
Minutemen,
T.S.O.L.,
Warren Ellis,
Joe Smooth,
Desert Stars,
EPMD,
The Wake,
Rod Modell,
The Smoke,
Gil Scott Heron,
Con Funk Shun,
Yazoo,
Bauhaus,
Boredoms,
Fluxion,
Marshall Jefferson,
Babytalk,
X-Ray Spex,
Gian Franco Pienzio,
FM Einheit,
Crime,
Godley & Creme,
UT,
Warsaw,
Deakin,
Jeff Mills,
Q65,
cv313,
Radio Birdman,
Motorama,
E-Dancer,
Gil Scott-Heron and Jamie xx,
Stetsasonic,
Spandau Ballet,
The Velvet Underground,
John Lydon,
Arthur Verocai,
Qualms,
The Golliwogs,
Lebanon Hanover, Lebanon Hanover, Lebanon Hanover, Lebanon Hanover.
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.