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 Albania and from Bologna.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1979.
I'm losing my edge.
To all the kids in Tokyo and Columbus.
I'm losing my edge to the art-school Bremen 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the spring reverb sounds with much patience.
I was there when Lou Reed 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 Spandau Ballet to the jazz kids.
I played it at the Troubador.
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 Richard Hell and the Voidoids. All the underground hits.
All The Associates tracks. I heard you have a vinyl of every Lower 48 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 '50s cut and another box set from the '70s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick May,
the Soft Cell,
Animal Collective,
The Flesh Eaters,
8 Eyed Spy,
Josef K,
Delta 5,
New Order,
Gichy Dan,
Junior Murvin,
Alison Limerick,
The Detroit Cobras,
Chris Corsano,
Jawbox,
Robert Görl,
Mandrill,
Average White Band,
Cymande,
Pharoah Sanders,
Joe Finger,
Terror Squad Feat. Camron,
Gong,
Nils Olav,
The Black Dice,
Suburban Knight,
Eric B and Rakim,
Wally Richardson,
Marmalade,
a-ha,
Niagra,
The West Coast Pop Art Experimental Band,
Mo-Dettes,
The Wake,
Scan 7,
B.T. Express,
Wings,
Alice Coltrane,
Marc Romboy vs. Booka Shade,
Y Pants,
Au Pairs,
the Germs,
Strawberry Alarm Clock,
Khruangbin,
Bizarre Inc.,
The Human League,
Barrington Levy,
Funky Four + One,
Japan,
The Moody Blues,
Quadrant,
The Modern Lovers,
Aswad,
Minutemen,
Vaughan Mason & Crew,
Index,
These Immortal Souls,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Q65,
cv313,
Ten City,
Urselle,
Mark Hollis,
The Residents,
Fluxion, Fluxion, Fluxion, Fluxion.
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.