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 Ghana and from Stockholm.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Edmonton and Bremen.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the mellotron 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 Notorious Big And Bone Thugs to the techno 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 Laurel Aitken. All the underground hits.
All Banda Bassotti tracks. I heard you have a vinyl of every Matthew Bourne record on German import.
I heard that you have a white label of every seminal grime 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 mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Camouflage record.
I hear that you and your band have sold your theremin and bought a guitar.
I hear that you and your band have sold your guitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Qualms,
Jawbox,
EPMD,
Public Image Ltd.,
The Jesus and Mary Chain,
Theoretical Girls,
Pere Ubu,
Vainqueur,
Wighnomy Brothers & Robag Wruhme,
Livin' Joy,
Ultramagnetic MC's,
KRS-One,
Stereo Dub,
Lizzy Mercier Descloux,
Delon & Dalcan,
Bob Dylan,
James Chance & The Contortions,
The Motions,
The Moody Blues,
Patti Smith,
Mark Hollis,
Ten City,
Soft Machine,
The Leaves,
Icehouse,
Roxette,
The Young Rascals,
The Sisters of Mercy,
Adolescents,
The Vogues,
The Detroit Cobras,
Fugazi,
Radio Birdman,
Lou Christie,
The Searchers,
James White and The Blacks,
The J.B.'s,
The Red Krayola,
Dawn Penn,
Ituana,
Nas,
Anthony Braxton,
Stockholm Monsters,
Marmalade,
The Blues Magoos,
The Raincoats,
Tubeway Army,
The Walker Brothers,
Quantec,
Minny Pops,
Manfred Mann's Earth Band,
The Velvet Underground,
Hashim,
Flamin' Groovies,
Roy Ayers Ubiquity,
Joy Division,
Alison Limerick,
The Toasters,
Gabor Szabo,
The Offenders,
Bauhaus,
The Index,
Yazoo, Yazoo, Yazoo, Yazoo.
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.