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 San Marino and from Stockholm.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1976.
I'm losing my edge.
To all the kids in Shanghai and Seoul.
I'm losing my edge to the art-school London 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 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 Pet Shop Boys to the disco 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 Litter. All the underground hits.
All Qualms tracks. I heard you have a vinyl of every De La Soul & Jungle Brothers 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 '60s cut and another box set from the '80s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Eyeless In Gaza record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
London Community Gospel Choir,
Grandmaster Flash,
Boredoms,
Thee Headcoats,
The Litter,
Television Personalities,
Bob Dylan,
Kerrie Biddell,
Eyeless In Gaza,
Grey Daturas,
Sticky Fingaz feat. Raekwon,
Urselle,
The Stooges,
Quadrant,
Notorious Big And Bone Thugs,
James White and The Blacks,
Fela Kuti,
Chris & Cosey,
Gabor Szabo,
Sällskapet,
the Slits,
The Red Krayola,
Electric Prunes,
Radiopuhelimet,
Dorothy Ashby,
The Fire Engines,
B.T. Express,
Loose Ends,
Ornette Coleman,
Zapp,
The Selecter,
Mark Hollis,
Technova,
DJ Sneak,
Outsiders,
Alison Limerick,
Trumans Water,
Minny Pops,
Gichy Dan,
The Seeds,
Gregory Isaacs,
Röyhkä ja Rättö ja Lehtisalo,
The Angels of Light,
Arthur Verocai,
Judy Mowatt,
Fluxion,
Deadbeat,
New York Dolls,
The Sound,
Throbbing Gristle,
Marcia Griffiths,
Ten City,
The Jesus and Mary Chain,
Cabaret Voltaire,
Fort Wilson Riot,
Dead Boys,
R.M.O.,
Little Man,
UT,
the Human League,
The West Coast Pop Art Experimental Band,
Reuben Wilson,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.