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 United Kingdom and from Copenhagen.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1971.
I'm losing my edge.
To all the kids in Madrid and Madrid.
I'm losing my edge to the art-school Bologna 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the 808 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 Matthew Halsall to the grunge kids.
I played it at the Crocodile.
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 Traffic Nightmare. All the underground hits.
All Man Eating Sloth tracks. I heard you have a vinyl of every Joe Smooth 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 '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pagans,
Japan,
Pylon,
Hasil Adkins,
Lonnie Liston Smith,
Wighnomy Brothers & Robag Wruhme,
Glenn Branca,
Minnie Riperton,
The Count Five,
Make Up,
Shoche,
Beasts of Bourbon,
China Crisis,
Vaughan Mason & Crew,
Jerry's Kids,
Richard Hell and the Voidoids,
Infiniti,
Malaria!,
Pantytec,
Eli Mardock,
Heaven 17,
Scratch Acid,
Crispian St. Peters,
Shuggie Otis,
Man Eating Sloth,
The Cosmic Jokers,
Chrome,
Crooked Eye,
Terrestrial Tones,
Glambeats Corp.,
the Slits,
Teenage Jesus and the Jerks,
Au Pairs,
Guru Guru,
Terror Squad Feat. Camron,
Pet Shop Boys,
Sound Behaviour,
The Gun Club,
This Heat,
The Real Kids,
Ohio Players,
Chris Corsano,
The Moody Blues,
Gang Starr,
The Slits,
Quadrant,
Faust,
Bronski Beat,
Andrew Ashong & Theo Parrish,
Gary Puckett & The Union Gap,
The Selecter,
Byron Stingily,
Kaleidoscope,
K-Klass,
Todd Rundgren,
Letta Mbulu,
Tomorrow,
Erasure,
Jeru the Damaja,
Derrick Morgan,
La Düsseldorf,
London Community Gospel Choir,
Wally Richardson,
Hot Snakes, Hot Snakes, Hot Snakes, Hot Snakes.
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.