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 Korea South and from Philadelphia.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Delhi and Cairo.
I'm losing my edge to the art-school Jakarta 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 harpsichord 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 Crispy Ambulance to the funk kids.
I played it at the Crocodile.
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 Inner City. All the underground hits.
All Tropical Tobacco tracks. I heard you have a vinyl of every Eve St. Jones record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron and Jamie xx record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lizzy Mercier Descloux,
Peter and Kerry,
Camouflage,
Skarface,
The Dirtbombs,
Siouxsie and the Banshees,
Pantaleimon,
Young Marble Giants,
the Normal,
Aswad,
8 Eyed Spy,
T.S.O.L.,
Connie Case,
Oblivians,
Liaisons Dangereuses,
Unrelated Segments,
Lyres,
Metal Thangz,
Harpers Bizarre,
Negative Approach,
Shuggie Otis,
A Flock of Seagulls,
Suburban Knight,
Whodini,
Tom Boy,
Brick,
The Moleskins,
Ituana,
Y Pants,
LL Cool J,
David Axelrod,
The Monks,
X-102,
Delon & Dalcan,
John Coltrane,
Sugar Minott,
Siglo XX,
Technova,
Fort Wilson Riot,
Andrew Ashong & Theo Parrish,
The Gap Band,
Glambeats Corp.,
La Düsseldorf,
Amon Düül,
Ajijia Myrayebe,
Robert Wyatt,
Bobby Sherman,
Richard Hell and the Voidoids,
The Jesus and Mary Chain,
Organ,
These Immortal Souls,
The Index,
Urselle,
Buzzcocks,
Spandau Ballet,
Royal Trux,
Gabor Szabo,
Depeche Mode,
X-101,
Slick Rick,
Sight & Sound,
Roger Hodgson,
Stetsasonic,
Interpol,
Clear Light, Clear Light, Clear Light, Clear Light.
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.