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 Mexico and from Mumbai.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1973.
I'm losing my edge.
To all the kids in Toronto and Manchester.
I'm losing my edge to the art-school Calgary 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 linndrum sounds with much patience.
I was there when Lou Reed 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 Motions to the dance 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 Reagan Youth. All the underground hits.
All Pet Shop Boys tracks. I heard you have a vinyl of every Saccharine Trust 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 '80s cut and another box set from the '70s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donny Hathaway,
The Divine Comedy,
Shuggie Otis,
KRS-One,
Unwound,
Alphaville,
Sad Lovers and Giants,
Pulsallama,
Mandrill,
Drive Like Jehu,
Make Up,
Sex Pistols,
Nick Fraelich,
Country Teasers,
Howard Jones,
Deadbeat,
Gang of Four,
Lalann,
Chrome,
Moebius,
Sandy B,
Lizzy Mercier Descloux,
Röyhkä ja Rättö ja Lehtisalo,
Kerrie Biddell,
James Chance & The Contortions,
Wighnomy Brothers & Robag Wruhme,
June of 44,
Lebanon Hanover,
The Remains,
Swans,
The Associates,
Fear,
The Shadows of Knight,
Country Joe & The Fish,
Girls At Our Best!,
The Happenings,
The Victims,
Lakeside,
Tommy Roe,
Eyeless In Gaza,
Andrew Hill,
La Düsseldorf,
Radio Birdman,
Quadrant,
John Foxx,
Fort Wilson Riot,
PIL,
Lyres,
H. Thieme,
Eurythmics,
Absolute Body Control,
Cybotron,
Jandek,
The Last Poets,
DNA,
The Smoke,
The Searchers,
The Slackers,
Hot Snakes,
Roger Hodgson,
Electric Prunes,
The Blackbyrds,
Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra.
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.