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 Slovenia and from Columbus.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Taipei and Salvador.
I'm losing my edge to the art-school Milan 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 harpsichord 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 Notorious BIG live in Amsterdam to the punk kids.
I played it at the Crocodile.
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 X-102. All the underground hits.
All Yellowson tracks. I heard you have a vinyl of every Selector Dub Narcotic 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 '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Cowsills record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Basic Channel,
Sonic Youth,
The Blackbyrds,
The Black Dice,
David Axelrod,
Scientists,
Public Image Ltd.,
Al Stewart,
Rhythm & Sound,
Boz Scaggs,
Delta 5,
Red Lorry Yellow Lorry,
X-102,
Mo-Dettes,
John Coltrane,
Das Ding,
EPMD,
Siouxsie and the Banshees,
Derrick Morgan,
Steve Hackett,
The Trojans,
Johnny Clarke,
Skaos,
Lebanon Hanover,
Symarip,
Deutsch Amerikanische Freundschaft,
Skarface,
Manfred Mann's Earth Band,
Jesper Dahlbäck,
Ohio Players,
Radio Birdman,
Massinfluence,
Pantaleimon,
T.S.O.L.,
Scion,
Lalann,
Juan Atkins,
Avey Tare's Slasher Flicks,
The Young Rascals,
Pulsallama,
The Selecter,
Marc Almond,
Gichy Dan,
Electric Light Orchestra,
Bootsy Collins,
Lightning Bolt,
Minor Threat,
The Alarm Clocks,
Marcia Griffiths,
The Doobie Brothers,
Jeff Mills,
Orchestral Manoeuvres in the Dark,
Grandmaster Flash and the Furious Five,
The Monochrome Set,
The Kinks,
The Techniques,
Kerri Chandler,
Ituana,
Scrapy,
The United States of America,
The Red Krayola,
The Toasters,
Shuggie Otis,
Bizarre Inc.,
Scratch Acid, Scratch Acid, Scratch Acid, Scratch Acid.
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.