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 Lesotho and from Bologna.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Salvador and Bremen.
I'm losing my edge to the art-school Madrid 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Michael McDonald 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 rap kids.
I played it at the Hacienda.
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 Rufus Thomas. All the underground hits.
All Aloha Tigers tracks. I heard you have a vinyl of every John Cale record on German import.
I heard that you have a white label of every seminal grunge 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 sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a A Flock of Seagulls record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
It's A Beautiful Day,
Brick,
Traffic Nightmare,
Funkadelic,
Kerrie Biddell,
Hashim,
Half Japanese,
Al Stewart,
Captain Beefheart & His Magic Band,
Pussy Galore,
The Evens,
Eyeless In Gaza,
DJ Sneak,
Stiv Bators,
Spandau Ballet,
John Cale,
The Martian,
Sound Behaviour,
Tim Buckley,
Nation of Ulysses,
Oblivians,
Deadbeat,
kango's stein massive,
Sister Nancy,
The Real Kids,
Jeff Lynne,
the Germs,
Notorious BIG live in Amsterdam,
Swell Maps,
Trumans Water,
Kauko Röyhkä ja Narttu,
Roy Ayers Ubiquity,
Sällskapet,
The Sisters of Mercy,
Angels of Light & Akron/Family,
The Residents,
Alison Limerick,
Sexual Harrassment,
Arab on Radar,
Orchestral Manoeuvres in the Dark,
Sonic Youth,
Monks,
Amazonics,
Rites of Spring,
Gastr Del Sol,
Fela Kuti,
Scott Walker + Sunn O))),
Stockholm Monsters,
The Birthday Party,
The Barracudas,
Reuben Wilson,
Lightning Bolt,
The Shadows of Knight,
Jacques Brel,
the Soft Cell,
In Retrospect,
Kango’s Stein Massive,
Boredoms,
The Chocolate Watch Band,
The Invisible,
Shoche,
Glenn Branca,
Idris Muhammad,
Visage, Visage, Visage, Visage.
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.