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 Tunisia and from Taipei.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Spokane and Salvador.
I'm losing my edge to the art-school Beijing 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 rhodes sounds with much patience.
I was there when Tom Verlaine 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 Sugar Minott to the electroclash 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 Stiv Bators. All the underground hits.
All Jeru the Damaja tracks. I heard you have a vinyl of every Stereo Dub 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 '70s cut and another box set from the '80s.
I hear you're buying a theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Rakim record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hardrive,
Bill Near,
Arcadia,
The Gap Band,
Barry Ungar,
Freddie Wadling,
La Düsseldorf,
Half Japanese,
Sonic Youth,
Red Lorry Yellow Lorry,
Alison Limerick,
Barbara Tucker,
Ornette Coleman,
Popol Vuh,
Marc Almond,
The Motions,
Fluxion,
Adolescents,
Jesper Dahlback,
Marcia Griffiths,
Orchestral Manoeuvres in the Dark,
Brothers Johnson,
Fugazi,
Kerri Chandler,
The Vogues,
Scratch Acid,
The Knickerbockers,
Stereo Dub,
The Count Five,
Quantec,
The Human League,
Jacques Brel,
Groovy Waters,
Teenage Jesus and the Jerks,
Sad Lovers and Giants,
B.T. Express,
Drexciya,
Harry Pussy,
Shuggie Otis,
Simply Red,
Joe Smooth,
The Move,
The Misunderstood,
Cluster,
ABBA,
Tres Demented,
The Fortunes,
The Evens,
Hashim,
The Star Department,
Erykah Badu,
Pagans,
Television,
The Fuzztones,
Art Ensemble Of Chicago,
Silicon Teens,
Pylon,
Aswad,
Faraquet,
Absolute Body Control,
Roger Hodgson, Roger Hodgson, Roger Hodgson, Roger Hodgson.
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.