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 South Africa and from Bremen.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Portland and Paris.
I'm losing my edge to the art-school Shanghai 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 theremin sounds with much patience.
I was there when Captain Beefheart 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 dance kids.
I played it at the Spitz.
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 Kayak. All the underground hits.
All JFA tracks. I heard you have a vinyl of every Talk Talk record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Pole record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quando Quango,
China Crisis,
Eurythmics,
The Royal Family And The Poor,
Porter Ricks,
Fatback Band,
Bill Near,
Judy Mowatt,
Jerry's Kids,
Dennis Brown,
Harry Pussy,
Nils Olav,
Tres Demented,
June Days,
Sexual Harrassment,
8 Eyed Spy,
Zapp,
Crash Course in Science,
Japan,
Marvin Gaye,
Banda Bassotti,
Lizzy Mercier Descloux,
Little Man,
Bobby Byrd,
The Divine Comedy,
The Busters,
The Skatalites,
Yazoo,
the Soft Cell,
The Gap Band,
Kas Product,
Piero Umiliani,
Urselle,
Aural Exciters,
The Flesh Eaters,
Flipper,
Boredoms,
the Bar-Kays,
Bobbi Humphrey,
Pylon,
Gichy Dan,
Alton Ellis,
Fear,
Andrew Ashong & Theo Parrish,
Lebanon Hanover,
X-Ray Spex,
Stetsasonic,
Mo-Dettes,
Severed Heads,
Monolake,
Minnie Riperton,
Barrington Levy,
New Age Steppers,
Röyhkä ja Rättö ja Lehtisalo,
Jeff Lynne,
Iggy Pop,
Public Enemy,
These Immortal Souls,
Section 25,
Pierre Henry,
The American Breed,
FM Einheit,
Junior Murvin,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.