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 Kazakhstan and from Madrid.
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 1960 to 1974.
I'm losing my edge.
To all the kids in New York and Winnipeg.
I'm losing my edge to the art-school Edmonton 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 Michael McDonald 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 KRS-One to the electroclash 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 The Electric Prunes. All the underground hits.
All Icehouse tracks. I heard you have a vinyl of every Grauzone record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Boz Scaggs record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Neon Judgement,
Stockholm Monsters,
Tomorrow,
DJ Sneak,
The Tremeloes,
Sound Behaviour,
Sun Ra Arkestra,
The Remains,
Oneida,
Negative Approach,
Gerry Rafferty,
Agitation Free,
Saccharine Trust,
The Raincoats,
The Smiths,
Heavy D & The Boyz,
New York Dolls,
Hoover,
Deakin,
Fear,
Thee Headcoats,
Bobby Byrd,
Morten Harket,
Loose Ends,
Radio Birdman,
Jerry's Kids,
Sight & Sound,
Chris Corsano,
Andrew Ashong & Theo Parrish,
the Soft Cell,
Magazine,
Minutemen,
Beasts of Bourbon,
Moss Icon,
Johnny Osbourne,
Duran Duran,
Liaisons Dangereuses,
F. McDonald,
Gastr Del Sol,
H. Thieme,
Rekid,
Rowland S Howard / Lydia Lunch,
10cc,
Fatback Band,
Kevin Saunderson,
Make Up,
Camouflage,
Essential Logic,
Big Daddy Kane,
Grey Daturas,
Boz Scaggs,
Marine Girls,
Yaz,
Dorothy Ashby,
Eddi Front,
The Mummies,
Sandy B,
Kool G Rap & DJ Polo,
Röyhkä ja Rättö ja Lehtisalo,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.