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 Rwanda and from Philadelphia.
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 1962 to 1972.
I'm losing my edge.
To all the kids in New York and Cairo.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the linndrum 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 Q and Not U to the jazz 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 Agitation Free. All the underground hits.
All Swell Maps tracks. I heard you have a vinyl of every Roxette record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeff Lynne,
Marmalade,
Monks,
Public Image Ltd.,
Eric B and Rakim,
Pere Ubu,
Kool G Rap & DJ Polo,
Spoonie Gee,
Deutsch Amerikanische Freundschaft,
Soulsonic Force,
Soft Cell,
D'Angelo,
Eli Mardock,
The Sisters of Mercy,
Gang Green,
Throbbing Gristle,
Ronnie Foster,
Talk Talk,
Kenny Larkin,
Pulsallama,
Cybotron,
The Detroit Cobras,
The Gun Club,
Ituana,
Jeru the Damaja,
L. Decosne,
The Fuzztones,
Joe Smooth,
Roy Ayers Ubiquity,
Ronan,
The Shadows of Knight,
Cabaret Voltaire,
The Invisible,
Steve Hackett,
Unrelated Segments,
The Buckinghams,
the Soft Cell,
Thinking Fellers Union Local 282,
Saccharine Trust,
Slick Rick,
Judy Mowatt,
Laurel Aitken,
Dual Sessions,
Masters at Work,
Scrapy,
Shuggie Otis,
The Wake,
The Divine Comedy,
The Music Machine,
Colin Newman,
Arthur Verocai,
Jeff Mills,
Marcia Griffiths,
The Seeds,
Pharoah Sanders,
Fort Wilson Riot,
Justin Hinds & The Dominoes,
Althea and Donna,
Quando Quango,
Siouxsie and the Banshees,
Arcadia,
Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks.
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.