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 Finland and from Lagos.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Glasgow and New York.
I'm losing my edge to the art-school Mexico City 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 theremin 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 The Moody Blues to the dance 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 the Human League. All the underground hits.
All Country Joe & The Fish tracks. I heard you have a vinyl of every AZ record on German import.
I heard that you have a white label of every seminal punk 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 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your snare and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric B and Rakim,
Be Bop Deluxe,
Tears for Fears,
Marcia Griffiths,
UT,
Lower 48,
The Alarm Clocks,
Ornette Coleman,
cv313,
Jesper Dahlbäck,
Mission of Burma,
Louis and Bebe Barron,
Sunsets and Hearts,
The Martian,
Aaron Thompson,
Negative Approach,
the Bar-Kays,
Sällskapet,
Roxy Music,
Rapeman,
Eric Dolphy,
Traffic Nightmare,
Cluster,
Procol Harum,
Jerry's Kids,
Absolute Body Control,
the Normal,
The Trojans,
Albert Ayler,
Eden Ahbez,
Stockholm Monsters,
Rod Modell,
Lucky Dragons,
Von Mondo,
Theoretical Girls,
The Gun Club,
A Certain Ratio,
Deepchord,
The Men They Couldn't Hang,
Liliput,
Glenn Branca,
Public Image Ltd.,
The Seeds,
Jacques Brel,
Jesper Dahlback,
The Dave Clark Five,
Marc Romboy vs. Booka Shade,
DeepChord presents Echospace,
The Dirtbombs,
Bush Tetras,
The Electric Prunes,
Lou Christie,
Reuben Wilson,
Liaisons Dangereuses,
Grandmaster Flash,
DJ Sneak,
the Association,
Marmalade,
Piero Umiliani,
Gary Puckett & The Union Gap,
Flipper,
Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot.
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.