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 Guatemala and from Jakarta.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1970.
I'm losing my edge.
To all the kids in Manchester and Calgary.
I'm losing my edge to the art-school Lille 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 1984 at the first Arcadia practice in a loft in London.
I was working on the synthesizer 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 Underground Resistance to the techno 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 New Order. All the underground hits.
All The Pop Group tracks. I heard you have a vinyl of every The Saints record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Gastr Del Sol record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
Scott Walker + Sunn O))),
Kauko Röyhkä ja Narttu,
Marine Girls,
the Normal,
Heaven 17,
New York Dolls,
Radiohead,
Sarah Menescal,
Heavy D & The Boyz,
Deutsch Amerikanische Freundschaft,
The Jesus and Mary Chain,
Jacob Miller,
New Order,
Ultramagnetic MC's,
Howard Jones,
Lalo Schifrin,
Jesper Dahlback,
Tubeway Army,
The J.B.'s,
Terry Callier,
The Men They Couldn't Hang,
The Fuzztones,
Dead Boys,
the Soft Cell,
Steve Hackett,
Saccharine Trust,
Bill Wells,
Quando Quango,
The West Coast Pop Art Experimental Band,
Johnny Clarke,
Mark Hollis,
Bush Tetras,
The Barracudas,
Peter Gordon & Love of Life Orchestra,
Justin Hinds & The Dominoes,
Gang of Four,
Letta Mbulu,
Matthew Halsall,
Bronski Beat,
Stockholm Monsters,
Sly & The Family Stone,
Avey Tare & Kría Brekkan,
Susan Cadogan,
Gastr Del Sol,
Mission of Burma,
the Association,
the Germs,
Talk Talk,
Teenage Jesus and the Jerks,
Arcadia,
Unwound,
Sun City Girls,
Massinfluence,
Fugazi,
Camberwell Now,
Quadrant,
Nick Fraelich,
Soul Sonic Force,
Delon & Dalcan,
Spoonie Gee, Spoonie Gee, Spoonie Gee, Spoonie Gee.
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.