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 Czech Republic and from Lille.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1963 to 1979.
I'm losing my edge.
To all the kids in London and Spokane.
I'm losing my edge to the art-school London 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the mellotron sounds with much patience.
I was there when Lou Reed 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 Howard Jones to the crunk 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 Bush Tetras. All the underground hits.
All Q65 tracks. I heard you have a vinyl of every Schoolly D record on German import.
I heard that you have a white label of every seminal dance 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 theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young record.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gian Franco Pienzio,
Orchestral Manoeuvres in the Dark,
Erasure,
Ronnie Foster,
World's Most,
Technova,
Wasted Youth,
the Slits,
Kerrie Biddell,
Make Up,
James White and The Blacks,
Barbara Tucker,
The Flesh Eaters,
Strawberry Alarm Clock,
Letta Mbulu,
Mark Hollis,
Boogie Down Productions,
Hasil Adkins,
Joe Finger,
The Tremeloes,
the Fania All-Stars,
Television,
EPMD,
Ohio Players,
the Soft Cell,
Man Eating Sloth,
Shoche,
Trumans Water,
Radiopuhelimet,
Crash Course in Science,
Kaleidoscope,
Derrick Morgan,
Fifty Foot Hose,
The Black Dice,
Thinking Fellers Union Local 282,
Gabor Szabo,
New Age Steppers,
Ice-T,
Danielle Patucci,
Dead Boys,
Loose Ends,
The Gories,
Whodini,
Fort Wilson Riot,
cv313,
Gang of Four,
FM Einheit,
Quadrant,
B.T. Express,
48th St. Collective,
Pere Ubu,
The Monks,
Excepter,
ABBA,
Peter & Gordon,
Bill Wells,
Ralphi Rosario,
Radiohead,
Pete Rock & C.L. Smooth,
Fatback Band,
Icehouse,
Sarah Menescal,
Thompson Twins, Thompson Twins, Thompson Twins, Thompson Twins.
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.