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 Moldova and from Jakarta.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Sao Paulo and Johannesburg.
I'm losing my edge to the art-school Johannesburg 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 Mistral practice in a loft in Amsterdam.
I was working on the theremin 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 Morten Harket to the funk 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 Swell Maps. All the underground hits.
All New Age Steppers tracks. I heard you have a vinyl of every Gang Starr record on German import.
I heard that you have a white label of every seminal electroclash 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 an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Echo & the Bunnymen record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fort Wilson Riot,
The Modern Lovers,
Section 25,
June Days,
The American Breed,
The Smoke,
The Cowsills,
X-Ray Spex,
June of 44,
Andrew Hill,
Dawn Penn,
Amon Düül II,
Deadbeat,
the Association,
Vaughan Mason & Crew,
Gang Gang Dance,
The Remains,
DeepChord presents Echospace,
The West Coast Pop Art Experimental Band,
Excepter,
London Community Gospel Choir,
Avey Tare & Kría Brekkan,
Avey Tare,
Loose Ends,
The Fugs,
Alphaville,
Heavy D & The Boyz,
The Fall,
Matthew Halsall,
John Lydon,
Isaac Hayes,
Jeru the Damaja,
The Dirtbombs,
Echo & the Bunnymen,
Subhumans,
Sight & Sound,
Connie Case,
Spandau Ballet,
Ituana,
Roxy Music,
Pantytec,
The Saints,
Major Organ And The Adding Machine,
Cybotron,
Lizzy Mercier Descloux,
Cameo,
Tomorrow,
Bobby Sherman,
Davy DMX,
The Skatalites,
Technova,
Tears for Fears,
The Golliwogs,
Visage,
Letta Mbulu,
Black Sheep,
Livin' Joy,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
T.S.O.L.,
Simply Red,
Con Funk Shun,
Sister Nancy,
Little Man,
The Royal Family And The Poor,
Blake Baxter, Blake Baxter, Blake Baxter, Blake Baxter.
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.