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 Armenia and from Lagos.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Bologna and Portland.
I'm losing my edge to the art-school Houston 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 synthesizer sounds with much patience.
I was there when Holger Czukay 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 Count Five to the crunk 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 Make Up. All the underground hits.
All Sister Nancy tracks. I heard you have a vinyl of every The Mummies 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 '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a New Order record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
UT,
the Bar-Kays,
Brick,
Skarface,
Unrelated Segments,
Strawberry Alarm Clock,
China Crisis,
The Selecter,
The Cure,
Jeff Lynne,
The Buckinghams,
Soft Cell,
The Residents,
Pantytec,
AZ,
Masters at Work,
Gil Scott-Heron and Jamie xx,
Underground Resistance,
Skriet,
Stetsasonic,
Public Enemy,
Traffic Nightmare,
Sam Rivers,
Sex Pistols,
Sunsets and Hearts,
Black Sheep,
Franke,
U.S. Maple,
Liliput,
Mo-Dettes,
Lightning Bolt,
D'Angelo,
Yusef Lateef,
Simply Red,
the Sonics,
The United States of America,
Althea and Donna,
Magma,
Drive Like Jehu,
Matthew Bourne,
Eurythmics,
Kas Product,
Faraquet,
The Techniques,
The Vogues,
The Associates,
Fat Boys,
Wally Richardson,
the Slits,
Sugar Minott,
Roy Ayers Ubiquity,
8 Eyed Spy,
Visionaries,LMNO, T- Love & Iriscience,
The Blackbyrds,
Kerrie Biddell,
Isaac Hayes,
Fluxion,
Bobby Byrd, Bobby Byrd, Bobby Byrd, Bobby Byrd.
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.