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 Chad and from Lyon.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Lille and Taipei.
I'm losing my edge to the art-school Tehran 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 1978 at the first Visage practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when Nile Rodgers 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 Lee Hazlewood to the grunge 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 Orchestral Manoeuvres in the Dark. All the underground hits.
All the Human League tracks. I heard you have a vinyl of every Maleditus Sound record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Donald Byrd record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Khruangbin,
The Electric Prunes,
The Slits,
Jacques Brel,
The Star Department,
Massinfluence,
Excepter,
Janne Schatter,
The Standells,
Neil Young,
Saccharine Trust,
Bob Dylan,
the Swans,
Scott Walker + Sunn O))),
Wings,
Peter Gordon & Love of Life Orchestra,
Kerri Chandler,
Mantronix,
Intrusion,
Chris Corsano,
Throbbing Gristle,
London Community Gospel Choir,
Ralphi Rosario,
Nico,
Kaleidoscope,
The West Coast Pop Art Experimental Band,
Hot Snakes,
June of 44,
The Chocolate Watch Band,
Cecil Taylor,
Aloha Tigers,
Mark Hollis,
A Flock of Seagulls,
Leonard Cohen,
Donny Hathaway,
Traffic Nightmare,
Amon Düül II,
Bobbi Humphrey,
Altered Images,
The Monks,
The Move,
Q65,
The Remains,
Newcleus,
The Monochrome Set,
Marvin Gaye,
Vladislav Delay,
Lindisfarne,
Model 500,
Magazine,
Amazonics,
De La Soul & Jungle Brothers,
Faust,
Bobby Byrd,
The Music Machine,
Mo-Dettes,
Red Lorry Yellow Lorry,
Matthew Bourne,
Zero Boys,
Larry & the Blue Notes,
Mandrill,
Pole, Pole, Pole, Pole.
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.