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 Botswana and from Houston.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1972.
I'm losing my edge.
To all the kids in Tokyo and Lille.
I'm losing my edge to the art-school Sao Paulo 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 808 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 ABBA to the crunk kids.
I played it at Cafe Wha.
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 Residents. All the underground hits.
All Kenny Larkin tracks. I heard you have a vinyl of every Yaz record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Grauzone record.
I hear that you and your band have sold your sitar and bought a guitar.
I hear that you and your band have sold your guitar and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monks,
Arcadia,
AZ,
Ralphi Rosario,
Fela Kuti,
Pere Ubu,
Ornette Coleman,
Art Ensemble Of Chicago,
Desert Stars,
Thee Headcoats,
Nick Fraelich,
New Age Steppers,
The Last Poets,
Aswad,
The Vogues,
The Gladiators,
Hasil Adkins,
Kool Moe Dee,
Hashim,
Dual Sessions,
Gang Green,
Ossler,
The Skatalites,
The Invisible,
Jeff Lynne,
Bobby Hutcherson,
Cal Tjader,
The Techniques,
Slave,
The Men They Couldn't Hang,
Crash Course in Science,
Nation of Ulysses,
Duran Duran,
The West Coast Pop Art Experimental Band,
Soul Sonic Force,
Avey Tare & Kría Brekkan,
Ultra Naté,
Deadbeat,
Matthew Halsall,
The Misunderstood,
Section 25,
The American Breed,
David Axelrod,
Gil Scott-Heron & Brian Jackson,
The Move,
The Modern Lovers,
cv313,
Gabor Szabo,
Aloha Tigers,
Ultramagnetic MC's,
48th St. Collective,
Sparks,
Sister Nancy,
Kings Of Tomorrow,
The Mighty Diamonds,
Mary Jane Girls,
Louis and Bebe Barron,
Outsiders,
Alphaville,
Alice Coltrane,
Con Funk Shun,
The Electric Prunes,
Kurtis Blow, Kurtis Blow, Kurtis Blow, Kurtis Blow.
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.