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 Cuba and from Salvador.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Houston and Tehran.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the clarinet 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 The Move 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 The New Christs. All the underground hits.
All The Velvet Underground tracks. I heard you have a vinyl of every Kevin Saunderson 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 '80s cut and another box set from the '90s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alice Coltrane,
X-102,
Vladislav Delay,
Lebanon Hanover,
Terry Callier,
Sexual Harrassment,
Lalann,
Stetsasonic,
Aaron Thompson,
T.S.O.L.,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Lou Christie,
Babytalk,
Dr. Dre and Snoop Doggy Dog,
Duran Duran,
Ken Boothe,
Kayak,
8 Eyed Spy,
The Smiths,
Mr. Review,
Public Image Ltd.,
D'Angelo,
The Gap Band,
Archie Shepp,
The Dead C,
Eric B and Rakim,
Hasil Adkins,
The Monks,
Camberwell Now,
Whodini,
48th St. Collective,
Barbara Tucker,
Henry Cow,
Thinking Fellers Union Local 282,
Flipper,
Gabor Szabo,
Crooked Eye,
Wasted Youth,
Selector Dub Narcotic,
Marc Almond,
Prince Buster,
Art Ensemble Of Chicago,
Nirvana,
Goldenarms,
Magma,
CMW,
Liliput,
Deutsch Amerikanische Freundschaft,
Girls At Our Best!,
Soft Cell,
the Sonics,
The Kinks,
Mark Hollis,
Fluxion,
Deepchord,
10cc,
Television,
Index,
U.S. Maple,
Dawn Penn,
The Fugs,
L. Decosne,
The Velvet Underground, The Velvet Underground, The Velvet Underground, The Velvet Underground.
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.