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 Micronesia and from Houston.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Madrid and Tehran.
I'm losing my edge to the art-school Philadelphia 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the chamberlin sounds with much patience.
I was there when Holger Czukay 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 Godley & Creme to the disco 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 Andrew Ashong & Theo Parrish. All the underground hits.
All Siglo XX tracks. I heard you have a vinyl of every Icehouse record on German import.
I heard that you have a white label of every seminal funk 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 a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Fall record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deakin,
Swans,
Siouxsie and the Banshees,
Amazonics,
The Black Dice,
Brass Construction,
Kevin Saunderson,
Blossom Toes,
Cluster,
Flash Fearless,
The Young Rascals,
The Searchers,
Dawn Penn,
Sunsets and Hearts,
Talk Talk,
Sly & The Family Stone,
Bluetip,
Mad Mike,
Aswad,
Piero Umiliani,
Shuggie Otis,
Neil Young & Crazy Horse,
Hashim,
Barry Ungar,
Dave Gahan,
Alison Limerick,
Funky Four + One,
Fifty Foot Hose,
Archie Shepp,
Lungfish,
Sandy B,
Spoonie Gee,
Skaos,
Popol Vuh,
Spandau Ballet,
The Pop Group,
Roy Ayers Ubiquity,
Babytalk,
Deutsch Amerikanische Freundschaft,
Eli Mardock,
Bill Near,
Selector Dub Narcotic,
Roxette,
Letta Mbulu,
The New Christs,
Suburban Knight,
Can,
Bobby Hutcherson,
Heavy D & The Boyz,
Tres Demented,
Sam Rivers,
Lalo Schifrin,
The J.B.'s,
Oneida,
Gil Scott-Heron & Brian Jackson,
Drexciya,
Public Enemy,
Man Eating Sloth,
Angry Samoans,
Black Moon, Black Moon, Black Moon, Black Moon.
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.