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 Iran and from Manchester.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1970.
I'm losing my edge.
To all the kids in Tehran and Cairo.
I'm losing my edge to the art-school Mumbai 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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 Talk Talk to the techno kids.
I played it at the Astoria.
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 Half Japanese. All the underground hits.
All Basic Channel tracks. I heard you have a vinyl of every Arab on Radar 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 chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Cosmic Jokers record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Association,
Be Bop Deluxe,
The Slits,
The Invisible,
Nico,
Dark Day,
The Doors,
Average White Band,
Ten City,
John Coltrane,
Masters at Work,
The Slackers,
The Saints,
Section 25,
Selector Dub Narcotic,
AZ,
Cluster,
Dave Gahan,
Minnie Riperton,
Sunsets and Hearts,
Metal Thangz,
Sam Rivers,
Mark Hollis,
Brick,
Skarface,
Electric Light Orchestra,
Skriet,
T.S.O.L.,
June of 44,
The Black Dice,
Gian Franco Pienzio,
Laurel Aitken,
Blake Baxter,
The Velvet Underground,
Erasure,
Sad Lovers and Giants,
Maleditus Sound,
ABBA,
Mars,
Ultramagnetic MC's,
Marvin Gaye,
Grey Daturas,
Funky Four + One,
Interpol,
Harpers Bizarre,
Sex Pistols,
Young Marble Giants,
The Neon Judgement,
Peter Gordon & Love of Life Orchestra,
Andrew Hill,
Cabaret Voltaire,
The Victims,
Ponytail,
Warren Ellis,
The Gap Band,
Ronnie Foster,
Lalo Schifrin,
Arthur Verocai,
Kerrie Biddell,
The Cramps,
It's A Beautiful Day,
The Fugs,
Ornette Coleman,
Gang Gang Dance, Gang Gang Dance, Gang Gang Dance, Gang Gang Dance.
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.