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 Honduras and from Paris.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Bologna and Jakarta.
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 Wire practice in a loft in Watford.
I was working on the marimba 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 Don Cherry to the rock 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 Pantytec. All the underground hits.
All The United States of America tracks. I heard you have a vinyl of every Underground Resistance 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 '80s cut and another box set from the '70s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Nik Kershaw record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maurizio,
Jeff Lynne,
Sight & Sound,
Hoover,
Technova,
K-Klass,
The Sound,
Thee Headcoats,
Urselle,
Desert Stars,
Brick,
Pet Shop Boys,
June Days,
Flash Fearless,
Marc Almond,
Beasts of Bourbon,
Manfred Mann's Earth Band,
Delta 5,
Pharoah Sanders,
Brothers Johnson,
Scientists,
48th St. Collective,
Hasil Adkins,
Gregory Isaacs,
Yaz,
Country Teasers,
Ossler,
Todd Rundgren,
Public Image Ltd.,
Eddi Front,
Rapeman,
Bauhaus,
The Gladiators,
Bush Tetras,
Eric Copeland,
Archie Shepp,
Duran Duran,
Peter Gordon & Love of Life Orchestra,
The Move,
Livin' Joy,
The Misunderstood,
Adolescents,
Franke,
Public Enemy,
Talk Talk,
Marvin Gaye,
Tommy Roe,
Q and Not U,
Smog,
EPMD,
The Litter,
The Residents,
Andrew Ashong & Theo Parrish,
Qualms,
Altered Images,
The Last Poets,
Yusef Lateef,
Ludus,
The American Breed,
The Human League,
Peter and Kerry,
X-101,
Eli Mardock,
the Soft Cell, the Soft Cell, the Soft Cell, the Soft Cell.
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.