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 Palau and from Jakarta.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1972.
I'm losing my edge.
To all the kids in Philadelphia and Columbus.
I'm losing my edge to the art-school Portland 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 mellotron sounds with much patience.
I was there when Nile Rodgers 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 Wasted Youth to the techno 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 The United States of America. All the underground hits.
All FM Einheit tracks. I heard you have a vinyl of every U.S. Maple 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 '60s cut and another box set from the '70s.
I hear you're buying an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed & Metallica record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roger Hodgson,
Motorama,
Tomorrow,
B.T. Express,
Sexual Harrassment,
Danielle Patucci,
Organ,
The Durutti Column,
Stereo Dub,
the Normal,
The Evens,
Ultravox,
Kaleidoscope,
Los Fastidios,
EPMD,
Electric Light Orchestra,
DeepChord presents Echospace,
Joey Negro,
Max Romeo,
The J.B.'s,
The Alarm Clocks,
Black Sheep,
Kas Product,
Simply Red,
Lou Reed & John Cale,
The Mummies,
The Residents,
Banda Bassotti,
Bush Tetras,
Qualms,
Althea and Donna,
The Busters,
Siglo XX,
Fear,
FM Einheit,
Funky Four + One,
Camouflage,
U.S. Maple,
R.M.O.,
Susan Cadogan,
Avey Tare,
Rufus Thomas,
Sixth Finger,
The Mojo Men,
Deadbeat,
Goldenarms,
Jimmy McGriff,
Alphaville,
Jerry Gold Smith,
Public Image Ltd.,
The Beau Brummels,
the Human League,
Tres Demented,
Big Daddy Kane,
La Düsseldorf,
Strawberry Alarm Clock,
Gil Scott Heron,
Yaz,
L. Decosne,
Sad Lovers and Giants,
Morten Harket, Morten Harket, Morten Harket, Morten Harket.
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.