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 Singapore and from Paris.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Manila.
I'm losing my edge to the art-school Glasgow 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 808 sounds with much patience.
I was there when Robert Palmer 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 Radio Birdman to the techno kids.
I played it at the Astoria.
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 Soft Cell. All the underground hits.
All Kevin Saunderson tracks. I heard you have a vinyl of every The Cowsills record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a the Germs record.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Talk Talk,
Notorious BIG live in Amsterdam,
Clear Light,
The Dead C,
DNA,
The Moody Blues,
The Cowsills,
Jeff Lynne,
Masters at Work,
Piero Umiliani,
Alphaville,
Kool G Rap & DJ Polo,
Chrome,
Swell Maps,
Can,
Kayak,
Drive Like Jehu,
Rhythim Is Rhythim,
Maurizio,
The Fire Engines,
Ken Boothe,
Bob Dylan,
Albert Ayler,
Tom Boy,
Dawn Penn,
Magazine,
The Pop Group,
FM Einheit,
Q and Not U,
The Star Department,
Delon & Dalcan,
Pet Shop Boys,
Eddi Front,
Teenage Jesus and the Jerks,
Chris Corsano,
Gerry Rafferty,
Leonard Cohen,
PIL,
Niagra,
Ten City,
Siouxsie and the Banshees,
Rites of Spring,
Josef K,
Girls At Our Best!,
Interpol,
The Knickerbockers,
Banda Bassotti,
The Leaves,
Thompson Twins,
Reagan Youth,
Basic Channel,
Thee Headcoats,
Röyhkä ja Rättö ja Lehtisalo,
Rakim,
Nils Olav,
Terror Squad Feat. Camron,
Los Fastidios,
Stetsasonic,
Brand Nubian,
Orchestral Manoeuvres in the Dark,
Marcia Griffiths,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.