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 Andorra and from Tehran.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Jakarta and Mexico City.
I'm losing my edge to the art-school Mexico City 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 arpeggiator 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 Arthur Verocai to the dance 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 Mr. Review. All the underground hits.
All Nation of Ulysses tracks. I heard you have a vinyl of every Hoover record on German import.
I heard that you have a white label of every seminal electroclash 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 a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
The Detroit Cobras,
Grauzone,
Gary Puckett & The Union Gap,
Stiv Bators,
The Gap Band,
Cluster,
Black Flag,
The Slits,
Spandau Ballet,
Echospace,
Kauko Röyhkä ja Narttu,
Oppenheimer Analysis,
Jeru the Damaja,
MC5,
Pere Ubu,
Warren Ellis,
Heavy D & The Boyz,
Talk Talk,
The Knickerbockers,
Au Pairs,
Trumans Water,
The Grass Roots,
Louis and Bebe Barron,
Visionaries,LMNO, T- Love & Iriscience,
Pet Shop Boys,
Lalo Schifrin,
Unrelated Segments,
Joe Finger,
Aural Exciters,
Laurel Aitken,
Scan 7,
Colin Newman,
Kings Of Tomorrow,
Nik Kershaw,
The Stooges,
cv313,
The Zeros,
Swell Maps,
Bobbi Humphrey,
Skriet,
Johnny Clarke,
CMW,
Gang of Four,
Toni Rubio,
The Black Dice,
The Music Machine,
The Toasters,
Lou Reed & Metallica,
Little Man,
The Golliwogs,
Agent Orange,
Roy Ayers,
Maurizio,
Cabaret Voltaire,
Lafayette Afro Rock Band,
Robert Hood,
X-101,
Be Bop Deluxe,
Deutsch Amerikanische Freundschaft,
Eli Mardock,
Fear,
Kango’s Stein Massive,
Pussy Galore, Pussy Galore, Pussy Galore, Pussy Galore.
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.