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 New York.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1968 to 1975.
I'm losing my edge.
To all the kids in New York and Taipei.
I'm losing my edge to the art-school Sao Paulo 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 mellotron sounds with much patience.
I was there when Nile Rodgers 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 Grey Daturas to the disco kids.
I played it at the Troubador.
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 Dawn Penn. All the underground hits.
All Mandrill tracks. I heard you have a vinyl of every Marvin Gaye 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 '70s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Deutsch Amerikanische Freundschaft record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ponytail,
Fear,
the Fania All-Stars,
Johnny Osbourne,
Tears for Fears,
Pere Ubu,
Black Pus,
Big Daddy Kane,
Orchestral Manoeuvres in the Dark,
The Busters,
EPMD,
Boogie Down Productions,
Notorious BIG live in Amsterdam,
Ultra Naté,
Jesper Dahlbäck,
Reuben Wilson,
The Blackbyrds,
CMW,
The Selecter,
The Vogues,
The Dirtbombs,
Chrome,
Radiohead,
Deakin,
Soft Machine,
Josef K,
Rod Modell,
Japan,
Bobby Hutcherson,
The Doobie Brothers,
Tommy Roe,
Electric Light Orchestra,
Gastr Del Sol,
The Misunderstood,
AZ,
Thinking Fellers Union Local 282,
Eddi Front,
The Saints,
Junior Murvin,
Gary Puckett & The Union Gap,
Gong,
Crime,
Man Eating Sloth,
Subhumans,
Lafayette Afro Rock Band,
The Music Machine,
The Divine Comedy,
Fad Gadget,
Robert Wyatt,
Altered Images,
Rotary Connection,
Frankie Knuckles,
Lebanon Hanover,
Alice Coltrane,
Model 500,
The Moody Blues,
The Last Poets,
Michelle Simonal,
Steve Hackett,
Al Stewart,
Dave Gahan,
Crispy Ambulance, Crispy Ambulance, Crispy Ambulance, Crispy Ambulance.
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.