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 Lithuania and from Manchester.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Taipei and Johannesburg.
I'm losing my edge to the art-school Madrid 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 rhodes 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 The Offenders to the grunge 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 Toni Rubio. All the underground hits.
All A Certain Ratio tracks. I heard you have a vinyl of every Skriet record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Ronnie Foster record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
F. McDonald,
Masters at Work,
Colin Newman,
Bobbi Humphrey,
Cameo,
kango's stein massive,
Popol Vuh,
Siglo XX,
Arab on Radar,
Accadde A,
Matthew Bourne,
The Vogues,
Aaron Thompson,
Byron Stingily,
Leonard Cohen,
the Normal,
The Mojo Men,
H. Thieme,
The Birthday Party,
Moebius,
Marine Girls,
The Dirtbombs,
Glambeats Corp.,
DeepChord presents Echospace,
The Peanut Butter Conspiracy,
The Detroit Cobras,
The Index,
Eurythmics,
Roxette,
Howard Jones,
Livin' Joy,
Heavy D & The Boyz,
Monolake,
Ajijia Myrayebe,
Supertramp,
The Star Department,
Deadbeat,
In Retrospect,
Banda Bassotti,
Eric Dolphy,
Jerry Gold Smith,
Agent Orange,
Wings,
The Sound,
Pharaoh Sanders and the Fire Engines,
This Heat,
Kauko Röyhkä ja Narttu,
DJ Sneak,
Sun City Girls,
Boredoms,
New Order,
Ronan,
Smog,
K-Klass,
Brand Nubian,
Ken Boothe,
Ultravox,
Pierre Henry,
Electric Light Orchestra,
Severed Heads,
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.