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 Indonesia and from Portland.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Edmonton and Tehran.
I'm losing my edge to the art-school Tehran 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 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 Slave to the grime kids.
I played it at the Crocodile.
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 Moebius. All the underground hits.
All Crooked Eye tracks. I heard you have a vinyl of every Hasil Adkins record on German import.
I heard that you have a white label of every seminal dance 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 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Birthday Party record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nik Kershaw,
Art Ensemble Of Chicago,
The Busters,
James Chance & The Contortions,
Dual Sessions,
Sun City Girls,
Fugazi,
ABBA,
Quando Quango,
Aswad,
Lakeside,
Nico,
Easy Going,
Flamin' Groovies,
Ultravox,
Alton Ellis,
The Human League,
Bush Tetras,
Pierre Henry,
Swans,
the Soft Cell,
Robert Wyatt,
Marshall Jefferson,
New York Dolls,
Joe Finger,
DeepChord presents Echospace,
Funkadelic,
The Velvet Underground,
New Order,
The Cramps,
Ralphi Rosario,
Moebius,
Wolf Eyes,
Con Funk Shun,
Gil Scott-Heron and Jamie xx,
The Cowsills,
Richard Hell and the Voidoids,
The Associates,
The Dirtbombs,
The Tremeloes,
Dennis Brown,
Derrick May,
Jerry's Kids,
Roger Hodgson,
Sound Behaviour,
Colin Newman,
Amazonics,
Tubeway Army,
Los Fastidios,
The Standells,
Royal Trux,
Cameo,
Boogie Down Productions,
Scientists,
Kaleidoscope,
The Beau Brummels,
Khruangbin,
Byron Stingily,
Roxy Music,
Panda Bear,
Stockholm Monsters,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.