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 Zimbabwe and from Paris.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Edmonton and Portland.
I'm losing my edge to the art-school Bremen 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 Tom Verlaine 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 New Order to the jazz 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 Radiopuhelimet. All the underground hits.
All Mandrill tracks. I heard you have a vinyl of every Super Lover Cee & Casanova Rud 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 '70s cut and another box set from the '70s.
I hear you're buying a 808 and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus 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?
Tom Boy,
Marshall Jefferson,
the Fania All-Stars,
Supertramp,
The Barracudas,
Agent Orange,
Kool Moe Dee,
The Fall,
Guru Guru,
Prince Buster,
Roy Ayers,
The Dead C,
Dark Day,
Cheater Slicks,
Technova,
Captain Beefheart & His Magic Band,
Cybotron,
The Techniques,
Deutsch Amerikanische Freundschaft,
Gil Scott Heron,
Unwound,
Jeff Mills,
Matthew Halsall,
Crash Course in Science,
Electric Light Orchestra,
Brand Nubian,
Massinfluence,
The West Coast Pop Art Experimental Band,
Avey Tare & Kría Brekkan,
Leonard Cohen,
Animal Collective,
Warsaw,
The Doors,
The Fortunes,
Eric Dolphy,
Radio Birdman,
Bobbi Humphrey,
Kaleidoscope,
Kenny Larkin,
DJ Style,
Big Daddy Kane,
Ultra Naté,
The Monks,
The Offenders,
Sugar Minott,
Infiniti,
Blake Baxter,
Pierre Henry,
The Selecter,
Peter and Kerry,
Hasil Adkins,
Dead Boys,
Hashim,
Moby Grape,
Accadde A,
Minnie Riperton,
Qualms,
Swell Maps,
Liaisons Dangereuses,
Peter Gordon & Love of Life Orchestra,
Lalo Schifrin, Lalo Schifrin, Lalo Schifrin, Lalo Schifrin.
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.