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 Canada and from Toronto.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Paris and Shanghai.
I'm losing my edge to the art-school Columbus 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 linndrum 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 Scott Walker 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 Kaleidoscope. All the underground hits.
All Dr. Dre and Snoop Doggy Dog tracks. I heard you have a vinyl of every Bob Dylan 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 '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Depeche Mode record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kings Of Tomorrow,
Stetsasonic,
The Names,
L. Decosne,
Moebius,
ABC,
Dual Sessions,
Ralphi Rosario,
Kurtis Blow,
cv313,
Fugazi,
The Gories,
Harmonia,
Alton Ellis,
Faust,
The United States of America,
B.T. Express,
Infiniti,
Clear Light,
Heavy D & The Boyz,
Nils Olav,
Fela Kuti,
Carl Craig,
The Fortunes,
Donny Hathaway,
Lizzy Mercier Descloux,
Amazonics,
Suburban Knight,
Swans,
Lee Hazlewood,
Sarah Menescal,
U.S. Maple,
The Invisible,
Rowland S Howard / Lydia Lunch,
Jeff Lynne,
10cc,
Red Lorry Yellow Lorry,
Lalo Schifrin,
The Tremeloes,
Idris Muhammad,
Gregory Isaacs,
Circle Jerks,
Eurythmics,
Magma,
Brass Construction,
Glenn Branca,
The Selecter,
Dark Day,
The Music Machine,
Fluxion,
Tears for Fears,
Echospace,
Half Japanese,
Gerry Rafferty,
Soulsonic Force,
Von Mondo,
Eve St. Jones,
Hasil Adkins,
Agitation Free,
Little Man, Little Man, Little Man, Little Man.
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.