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 Suriname and from Bologna.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1971.
I'm losing my edge.
To all the kids in Philadelphia and Milan.
I'm losing my edge to the art-school London 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 spring reverb 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 Kings Of Tomorrow to the rock 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 Interpol. All the underground hits.
All The Gun Club tracks. I heard you have a vinyl of every Banda Bassotti 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 '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Orchestral Manoeuvres in the Dark record.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brothers Johnson,
Scan 7,
Throbbing Gristle,
James White and The Blacks,
The Standells,
This Heat,
Sarah Menescal,
Davy DMX,
X-Ray Spex,
DNA,
Terry Callier,
Dorothy Ashby,
CMW,
John Holt,
Rufus Thomas,
Danielle Patucci,
Arcadia,
Lafayette Afro Rock Band,
Matthew Bourne,
Fear,
Audionom,
Richard Hell and the Voidoids,
Monks,
Masters at Work,
Crime,
Magazine,
Grandmaster Flash and the Furious Five,
Dawn Penn,
Bronski Beat,
The American Breed,
Pharoah Sanders,
Matthew Halsall,
Patti Smith,
The Wake,
Skriet,
David Axelrod,
Pete Rock & C.L. Smooth,
The Seeds,
June of 44,
Vladislav Delay,
Pierre Henry,
Byron Stingily,
Derrick May,
Donny Hathaway,
Little Man,
Ronnie Foster,
Oblivians,
The Cowsills,
Max Romeo,
Tres Demented,
the Normal,
Pet Shop Boys,
Bootsy Collins,
48th St. Collective,
Kerri Chandler,
Marshall Jefferson,
Justin Hinds & The Dominoes,
The Angels of Light,
Rahsaan Roland Kirk,
Sparks,
New Order,
Manfred Mann's Earth Band, Manfred Mann's Earth Band, Manfred Mann's Earth Band, Manfred Mann's Earth Band.
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.