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 Belize and from Jakarta.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1960 to 1978.
I'm losing my edge.
To all the kids in Shanghai and Tehran.
I'm losing my edge to the art-school Spokane 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 guitar sounds with much patience.
I was there when Nile Rodgers 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 Ronan to the grime kids.
I played it at the Troubador.
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 Lonnie Liston Smith. All the underground hits.
All Porter Ricks tracks. I heard you have a vinyl of every Soul Sonic Force 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 '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Parry Music record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scrapy,
Lou Christie,
Parry Music,
Young Marble Giants,
Soul II Soul,
The Walker Brothers,
The Cramps,
Rhythim Is Rhythim,
Angels of Light & Akron/Family,
Dorothy Ashby,
Donald Byrd,
The Motions,
the Fania All-Stars,
Beasts of Bourbon,
The Skatalites,
The Black Dice,
Grauzone,
Lafayette Afro Rock Band,
Joe Finger,
Boredoms,
The Dirtbombs,
Andrew Hill,
Siouxsie and the Banshees,
Joey Negro,
The Standells,
Barclay James Harvest,
Tubeway Army,
Panda Bear,
The Dead C,
Fugazi,
Cameo,
Donny Hathaway,
Thee Headcoats,
Spandau Ballet,
Andrew Ashong & Theo Parrish,
Amon Düül II,
The Litter,
The Human League,
Jeff Lynne,
The Fuzztones,
EPMD,
the Human League,
James White and The Blacks,
The Mighty Diamonds,
The New Christs,
The Kinks,
Gerry Rafferty,
Slick Rick,
Nik Kershaw,
Lee Hazlewood,
Average White Band,
Talk Talk,
Bronski Beat,
Flipper,
Ultra Naté,
Liliput,
Amon Düül,
Motorama,
Swell Maps,
Fear,
Second Layer,
June Days,
The Invisible,
The Electric Prunes, The Electric Prunes, The Electric Prunes, The Electric Prunes.
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.