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 Congo and from Johannesburg.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1974.
I'm losing my edge.
To all the kids in Mexico City and Spokane.
I'm losing my edge to the art-school Woodstock 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 Holger Czukay 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 Dark Day to the jazz kids.
I played it at CBGB's.
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 Main Source. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every The Slackers record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Jeff Lynne record.
I hear that you and your band have sold your mellotron and bought a 808.
I hear that you and your band have sold your 808 and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
Pierre Henry,
Laurel Aitken,
Television,
Quadrant,
Eric B and Rakim,
Arthur Verocai,
Lucky Dragons,
Sun City Girls,
La Düsseldorf,
Accadde A,
Kayak,
Dorothy Ashby,
John Lydon,
Leonard Cohen,
Eurythmics,
Moebius,
The Sound,
Technova,
Roy Ayers Ubiquity,
Johnny Osbourne,
Icehouse,
Subhumans,
Masters at Work,
Dual Sessions,
Bauhaus,
Tropical Tobacco,
Deepchord,
48th St. Collective,
Lalo Schifrin,
Pussy Galore,
Junior Murvin,
Soft Cell,
Josef K,
Youth Brigade,
A Certain Ratio,
Eli Mardock,
Reagan Youth,
David Axelrod,
China Crisis,
Soul II Soul,
Von Mondo,
CMW,
Eric Copeland,
DJ Sneak,
Aaron Thompson,
AZ,
Average White Band,
Brass Construction,
Deakin,
Sugar Minott,
Alphaville,
Crooked Eye,
Sound Behaviour,
Lou Christie,
Yellowson,
De La Soul & Jungle Brothers,
Roger Hodgson,
Funkadelic,
Ralphi Rosario,
Sex Pistols, Sex Pistols, Sex Pistols, Sex Pistols.
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.