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 Botswana and from Madrid.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Winnipeg and Accra.
I'm losing my edge to the art-school Tehran 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 Lou Reed 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 Spandau Ballet to the crunk kids.
I played it at the 40 Watt.
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 Royal Trux. All the underground hits.
All Skriet tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal disco 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 spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Max Romeo record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Hood,
Sun Ra Arkestra,
Theoretical Girls,
The Cure,
Derrick Morgan,
Faraquet,
The Saints,
PIL,
Selector Dub Narcotic,
Shoche,
Nik Kershaw,
Minutemen,
Cecil Taylor,
Camouflage,
Marc Romboy vs. Booka Shade,
Cluster,
Tres Demented,
The Gap Band,
Echospace,
Subhumans,
Rod Modell,
Ten City,
Y Pants,
Siglo XX,
The Blues Magoos,
Lou Reed & John Cale,
Negative Approach,
Anakelly,
Maleditus Sound,
Mantronix,
Funky Four + One,
UT,
Jesper Dahlback,
Sun City Girls,
Delta 5,
The Electric Prunes,
Talk Talk,
the Fania All-Stars,
Henry Cow,
James Chance & The Contortions,
Andrew Ashong & Theo Parrish,
The Index,
Ohio Players,
Erykah Badu,
Fad Gadget,
Kool Moe Dee,
The Victims,
Traffic Nightmare,
Bronski Beat,
R.M.O.,
London Community Gospel Choir,
Quando Quango,
Bootsy's Rubber Band,
Tropical Tobacco,
Bauhaus,
Lower 48,
Marshall Jefferson,
La Düsseldorf,
Ultravox,
Orchestral Manoeuvres in the Dark,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.