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 Liechtenstein and from Lille.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Bremen and Mexico City.
I'm losing my edge to the art-school Manila 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 theremin 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 Jerry Gold Smith to the dance 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 Throbbing Gristle. All the underground hits.
All Joensuu 1685 tracks. I heard you have a vinyl of every Teenage Jesus and the Jerks record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a ABC record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxy Music,
Orchestral Manoeuvres in the Dark,
Sight & Sound,
Pete Rock & C.L. Smooth,
The Smiths,
Make Up,
Lalann,
Henry Cow,
Sarah Menescal,
X-101,
James White and The Blacks,
Little Man,
Can,
48th St. Collective,
Super Lover Cee & Casanova Rud,
Johnny Clarke,
Aaron Thompson,
Avey Tare's Slasher Flicks,
Slick Rick,
Pussy Galore,
Roger Hodgson,
Lower 48,
Siouxsie and the Banshees,
Ice-T,
World's Most,
Loose Ends,
The Cowsills,
Public Enemy,
Scrapy,
Desert Stars,
Los Fastidios,
F. McDonald,
Justin Hinds & The Dominoes,
Albert Ayler,
Selector Dub Narcotic,
Das Ding,
X-102,
John Foxx,
The New Christs,
Bauhaus,
Lonnie Liston Smith,
the Normal,
Big Daddy Kane,
Essential Logic,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
David Bowie,
Crash Course in Science,
Donald Byrd,
Kerrie Biddell,
Y Pants,
Todd Terry,
Donny Hathaway,
Slave,
The Cramps,
Shoche,
Alton Ellis,
Sound Behaviour,
Wasted Youth,
Boz Scaggs,
La Düsseldorf,
Urselle, Urselle, Urselle, Urselle.
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.