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 Cuba and from Lyon.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Seoul and Hong Kong.
I'm losing my edge to the art-school Delhi 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 The Moleskins to the techno 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 Traffic Nightmare. All the underground hits.
All Siouxsie and the Banshees tracks. I heard you have a vinyl of every Sunsets and Hearts record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eyeless In Gaza,
The Doobie Brothers,
Richard Hell and the Voidoids,
Country Joe & The Fish,
Arab on Radar,
The Birthday Party,
Television,
The Blues Magoos,
Scott Walker,
June Days,
Soul Sonic Force,
Stetsasonic,
Tomorrow,
Matthew Halsall,
Gil Scott-Heron & Brian Jackson,
Rhythim Is Rhythim,
Scientists,
Black Moon,
Alton Ellis,
The West Coast Pop Art Experimental Band,
Joy Division,
Al Stewart,
The Leaves,
Selector Dub Narcotic,
Warsaw,
The Shadows of Knight,
Guru Guru,
Mark Hollis,
Zapp,
Davy DMX,
Ronan,
Fad Gadget,
D'Angelo,
Shoche,
Minutemen,
The Names,
Sparks,
Harpers Bizarre,
Alison Limerick,
London Community Gospel Choir,
Lalo Schifrin,
Lou Reed & John Cale,
MDC,
Swell Maps,
Peter and Kerry,
The Fortunes,
Public Enemy,
Bauhaus,
Stockholm Monsters,
Deakin,
Wally Richardson,
Absolute Body Control,
Scion,
Cecil Taylor,
The Happenings,
The Mummies,
Liaisons Dangereuses,
Little Man,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
This Heat,
John Lydon,
Cameo,
R.M.O., R.M.O., R.M.O., R.M.O..
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.