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 Seychelles and from Shanghai.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Portland and Mexico City.
I'm losing my edge to the art-school Stockholm 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 1978 at the first Visage practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Khruangbin to the techno kids.
I played it at the 40 Watt.
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 United States of America. All the underground hits.
All Marmalade tracks. I heard you have a vinyl of every Radiopuhelimet record on German import.
I heard that you have a white label of every seminal grime 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 güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kaleidoscope,
ABBA,
Das Ding,
June Days,
The Walker Brothers,
Terror Squad Feat. Camron,
The Black Dice,
Tim Buckley,
Jeru the Damaja,
Lalann,
Jerry Gold Smith,
Aaron Thompson,
The Gun Club,
The Doobie Brothers,
Brothers Johnson,
Guru Guru,
Pere Ubu,
Fugazi,
Wings,
Outsiders,
John Lydon,
The Skatalites,
Yusef Lateef,
The Electric Prunes,
Q and Not U,
Röyhkä ja Rättö ja Lehtisalo,
Royal Trux,
Kauko Röyhkä ja Narttu,
Eli Mardock,
Alton Ellis,
Audionom,
Spoonie Gee,
The West Coast Pop Art Experimental Band,
It's A Beautiful Day,
The Martian,
Franke,
Rapeman,
Alphaville,
The Music Machine,
Jesper Dahlback,
X-101,
The Sound,
Severed Heads,
The Real Kids,
The Divine Comedy,
Bill Near,
Suburban Knight,
Fluxion,
Curtis Mayfield,
MC5,
The Pretty Things,
The Royal Family And The Poor,
Sister Nancy,
Johnny Osbourne,
Theoretical Girls,
Sparks,
Siouxsie and the Banshees,
Marc Romboy vs. Booka Shade,
Iggy Pop,
Make Up,
Freddie Wadling, Freddie Wadling, Freddie Wadling, Freddie Wadling.
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.