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 Maldives and from Lille.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Stockholm and Delhi.
I'm losing my edge to the art-school Lagos 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 808 sounds with much patience.
I was there when Robert Palmer 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 Normal to the funk 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 CMW. All the underground hits.
All Crispy Ambulance 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 jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Peter & Gordon record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Little Man,
Skriet,
The Electric Prunes,
Archie Shepp,
Rufus Thomas,
Heaven 17,
The Names,
Public Enemy,
The Buckinghams,
The Invisible,
Matthew Bourne,
Jacob Miller,
The Saints,
Con Funk Shun,
The Toasters,
Minutemen,
ABC,
Lungfish,
D'Angelo,
Hasil Adkins,
Qualms,
Tears for Fears,
Stereo Dub,
Kango’s Stein Massive,
Yaz,
Judy Mowatt,
Dave Gahan,
L. Decosne,
the Swans,
Kayak,
Public Image Ltd.,
Wally Richardson,
Quadrant,
In Retrospect,
Alice Coltrane,
Bobby Womack,
Quando Quango,
Bush Tetras,
DJ Style,
Graham Central Station,
This Heat,
Smog,
Trumans Water,
Leonard Cohen,
Matthew Halsall,
Yellowson,
The Last Poets,
Camron Feat. Memphis Bleek And Beenie Seigel,
Kas Product,
Angry Samoans,
Can,
Sonic Youth,
Donald Byrd,
The Five Americans,
R.M.O.,
Ultra Naté,
Mantronix,
Marine Girls,
New Age Steppers,
Hardrive,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.