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 Sri Lanka and from Madrid.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Madrid and Shanghai.
I'm losing my edge to the art-school Mexico City 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the theremin sounds with much patience.
I was there when David Bowie 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 Music Machine to the disco 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 Bill Wells. All the underground hits.
All The Selecter tracks. I heard you have a vinyl of every Joe Finger 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 '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Franke,
Bizarre Inc.,
Lalo Schifrin,
Idris Muhammad,
China Crisis,
Bootsy Collins,
Brick,
Neil Young,
Nick Fraelich,
Joe Smooth,
The Slackers,
PIL,
Sun City Girls,
The Shadows of Knight,
Throbbing Gristle,
Bad Manners,
Amazonics,
Scratch Acid,
Sonny Sharrock,
Sound Behaviour,
Silicon Teens,
Saccharine Trust,
The Fire Engines,
Ash Ra Tempel,
Grandmaster Flash and the Furious Five,
Shoche,
Barclay James Harvest,
Scientists,
Kauko Röyhkä ja Narttu,
Soul Sonic Force,
Red Lorry Yellow Lorry,
The Chocolate Watch Band,
Gastr Del Sol,
Lalann,
Black Sheep,
London Community Gospel Choir,
Chris Corsano,
Donald Byrd,
Parry Music,
Rahsaan Roland Kirk,
Pharaoh Sanders and the Fire Engines,
Fluxion,
Piero Umiliani,
Dorothy Ashby,
Crispy Ambulance,
Sly & The Family Stone,
Pole,
Ultravox,
Simply Red,
Orchestral Manoeuvres in the Dark,
Glenn Branca,
Country Teasers,
The Fall,
Dual Sessions,
The Blackbyrds,
Deutsch Amerikanische Freundschaft,
Larry & the Blue Notes,
The Happenings,
Lou Reed,
Excepter,
Iggy Pop,
Cymande,
The Star Department,
Radiohead, Radiohead, Radiohead, Radiohead.
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.