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 Greece and from Stockholm.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Calgary and Philadelphia.
I'm losing my edge to the art-school Cairo 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 1978 at the first Visage practice in a loft in London.
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 Arthur Verocai to the crunk kids.
I played it at Trash.
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 Sun Ra Arkestra. All the underground hits.
All Joensuu 1685 tracks. I heard you have a vinyl of every Excepter record on German import.
I heard that you have a white label of every seminal jazz 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 marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Mighty Diamonds record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Super Lover Cee & Casanova Rud,
Faraquet,
Bad Manners,
World's Most,
Gian Franco Pienzio,
Dark Day,
Peter Gordon & Love of Life Orchestra,
Scratch Acid,
DNA,
Erasure,
Matthew Halsall,
Yaz,
The Selecter,
Red Lorry Yellow Lorry,
Procol Harum,
The Detroit Cobras,
Matthew Bourne,
Sun City Girls,
a-ha,
Cybotron,
Funkadelic,
Soulsonic Force,
The Chocolate Watch Band,
The New Christs,
Tomorrow,
Ash Ra Tempel,
Soft Machine,
Skaos,
The Doobie Brothers,
The Gun Club,
Joensuu 1685,
Traffic Nightmare,
Deadbeat,
Henry Cow,
Alice Coltrane,
Tom Boy,
Silicon Teens,
Oppenheimer Analysis,
Half Japanese,
Organ,
Minor Threat,
Oblivians,
Howard Jones,
Jesper Dahlbäck,
Albert Ayler,
Todd Rundgren,
Spandau Ballet,
DJ Sneak,
Rufus Thomas,
Letta Mbulu,
Bobbi Humphrey,
Sällskapet,
The Buckinghams,
Loose Ends,
Lucky Dragons,
Swell Maps,
Shoche,
The Fortunes,
Bill Near,
Crispian St. Peters,
David Axelrod,
New Order, New Order, New Order, New Order.
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.