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 Liberia and from Madrid.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1961 to 1971.
I'm losing my edge.
To all the kids in New York and London.
I'm losing my edge to the art-school Glasgow 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the linndrum sounds with much patience.
I was there when David Bowie 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 Sarah Menescal to the disco 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 Graham Central Station. All the underground hits.
All The Jesus and Mary Chain tracks. I heard you have a vinyl of every Reagan Youth record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Marc Almond record.
I hear that you and your band have sold your 808 and bought a sitar.
I hear that you and your band have sold your sitar and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun Ra Arkestra,
The Divine Comedy,
Spandau Ballet,
Orchestral Manoeuvres in the Dark,
The Busters,
Idris Muhammad,
X-102,
Bob Dylan,
Black Pus,
Section 25,
The Sound,
L. Decosne,
Television,
The Martian,
Funky Four + One,
Pantaleimon,
Neil Young & Crazy Horse,
Cheater Slicks,
Wolf Eyes,
The Saints,
Theoretical Girls,
The Victims,
Wasted Youth,
Alton Ellis,
Ituana,
Sister Nancy,
Leonard Cohen,
Thompson Twins,
Scan 7,
Archie Shepp,
Juan Atkins,
Josef K,
Sonny Sharrock,
Dead Boys,
Maleditus Sound,
Index,
Pet Shop Boys,
Ultravox,
Cecil Taylor,
James Chance & The Contortions,
D'Angelo,
Kevin Saunderson,
Deutsch Amerikanische Freundschaft,
Cymande,
Freddie Wadling,
Crooked Eye,
Young Marble Giants,
One Last Wish,
Deakin,
The Residents,
Fugazi,
The Blues Magoos,
Bang on a Can All-Stars,
Howard Jones,
Joey Negro,
Adolescents,
Lalann,
Los Fastidios,
Monks,
Echospace,
Oblivians,
Barrington Levy, Barrington Levy, Barrington Levy, Barrington Levy.
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.