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 Cambodia and from Woodstock.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Portland and Toronto.
I'm losing my edge to the art-school Lyon 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 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 Ultravox to the dance 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 Slits. All the underground hits.
All Avey Tare tracks. I heard you have a vinyl of every Eddi Front record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Crash Course in Science record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Buzzcocks,
Technova,
Bobby Sherman,
Suburban Knight,
Aaron Thompson,
Zero Boys,
Parry Music,
The Moleskins,
Bobby Hutcherson,
Masters at Work,
Little Man,
Simply Red,
Lyres,
Skarface,
Heavy D & The Boyz,
AZ,
Outsiders,
This Heat,
Altered Images,
Arthur Verocai,
A Flock of Seagulls,
Donny Hathaway,
Idris Muhammad,
Avey Tare's Slasher Flicks,
Susan Cadogan,
The Dirtbombs,
Symarip,
Easy Going,
Hoover,
K-Klass,
Joensuu 1685,
Jeff Mills,
Man Parrish,
Aswad,
Junior Murvin,
Donald Byrd,
Model 500,
John Lydon,
Roy Ayers,
Gichy Dan,
Scott Walker + Sunn O))),
The Shadows of Knight,
Nick Fraelich,
Television,
Flipper,
Pole,
Alton Ellis,
The Blues Magoos,
Robert Hood,
Desert Stars,
Chris & Cosey,
Darondo,
Robert Görl,
Peter & Gordon,
Charles Mingus,
Robert Wyatt,
Camberwell Now,
Hashim,
Anakelly,
Neu!,
The Dave Clark Five,
Byron Stingily,
the Soft Cell, the Soft Cell, the Soft Cell, the Soft Cell.
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.