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 Kenya and from Woodstock.
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 1970.
I'm losing my edge.
To all the kids in Lagos and Portland.
I'm losing my edge to the art-school Madrid 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 synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Barclay James Harvest to the disco 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 Althea and Donna. All the underground hits.
All David Bowie tracks. I heard you have a vinyl of every Das Ding record on German import.
I heard that you have a white label of every seminal crunk 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 an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your mellotron and bought a snare.
I hear that you and your band have sold your snare and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nico,
Echo & the Bunnymen,
Lightning Bolt,
Lafayette Afro Rock Band,
Sonny Sharrock,
Pantytec,
Cheater Slicks,
Suburban Knight,
The Associates,
Bobby Hutcherson,
Roy Ayers,
Pulsallama,
Major Organ And The Adding Machine,
Khruangbin,
Ultimate Spinach,
Cymande,
The Jesus and Mary Chain,
Teenage Jesus and the Jerks,
Lalann,
the Human League,
Flipper,
Fear,
Brand Nubian,
The Cowsills,
Lou Christie,
Moebius,
Section 25,
Kool G Rap & DJ Polo,
Pole,
EPMD,
Spandau Ballet,
Unwound,
The Fall,
Maleditus Sound,
Skriet,
Lou Reed,
The Skatalites,
The Alarm Clocks,
T.S.O.L.,
Scientists,
Little Man,
Sugar Minott,
The Gun Club,
The Martian,
Fela Kuti,
Delta 5,
Brick,
Gastr Del Sol,
Ajijia Myrayebe,
Warren Ellis,
Sad Lovers and Giants,
The Trojans,
Mars,
Cabaret Voltaire,
Malaria!,
Camberwell Now,
Thee Headcoats,
The Remains,
Clear Light,
Grandmaster Flash,
Parry Music,
The Human League,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.