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 Comoros and from Lille.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1970.
I'm losing my edge.
To all the kids in Copenhagen and Milan.
I'm losing my edge to the art-school Lagos 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 linndrum sounds with much patience.
I was there when Donald Fagen 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 Wally Richardson to the grime 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 Colin Newman. All the underground hits.
All Unwound tracks. I heard you have a vinyl of every Graham Central Station record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a B.T. Express record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Howard Jones,
The Music Machine,
Hot Snakes,
Lakeside,
Jeff Mills,
Morten Harket,
JFA,
In Retrospect,
Schoolly D,
AZ,
cv313,
Ash Ra Tempel,
The Durutti Column,
Patti Smith,
Blake Baxter,
Johnny Clarke,
Scientists,
Tres Demented,
Jesper Dahlback,
Oneida,
Thompson Twins,
DNA,
Stetsasonic,
London Community Gospel Choir,
The Five Americans,
Scott Walker + Sunn O))),
LL Cool J,
Amon Düül,
World's Most,
The Tremeloes,
The Sonics,
The Associates,
Brick,
Severed Heads,
Make Up,
Supertramp,
Pantytec,
Mantronix,
Louis and Bebe Barron,
The Stooges,
Delta 5,
Camouflage,
Don Cherry,
The Motions,
Henry Cow,
The Dead C,
The Victims,
Can,
The West Coast Pop Art Experimental Band,
Jimmy McGriff,
Wolf Eyes,
L. Decosne,
Manfred Mann's Earth Band,
The Cure,
The United States of America,
The Divine Comedy,
A Certain Ratio,
China Crisis,
the Association,
Theoretical Girls,
Justin Hinds & The Dominoes,
Ituana, Ituana, Ituana, Ituana.
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.