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 Ecuador and from Paris.
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 1976.
I'm losing my edge.
To all the kids in Manila and Tokyo.
I'm losing my edge to the art-school Copenhagen 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 Michael McDonald 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 Simply Red to the techno kids.
I played it at the Troubador.
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 The Standells. All the underground hits.
All Pharaoh Sanders and the Fire Engines tracks. I heard you have a vinyl of every Jerry Gold Smith record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Rotary Connection record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Cale,
The Red Krayola,
New York Dolls,
Charles Mingus,
Pierre Henry,
Matthew Halsall,
Tears for Fears,
Rahsaan Roland Kirk,
These Immortal Souls,
Crime,
Eric Copeland,
Aural Exciters,
The Happenings,
Erasure,
Talk Talk,
Kurtis Blow,
Goldenarms,
Black Flag,
Nick Cave & The Bad Seeds,
Bill Wells,
the Bar-Kays,
Davy DMX,
Bill Near,
Amazonics,
The Gories,
Marc Almond,
Robert Görl,
Marc Romboy vs. Booka Shade,
The Mighty Diamonds,
Man Parrish,
Altered Images,
Bootsy's Rubber Band,
World's Most,
cv313,
The United States of America,
Kaleidoscope,
Donald Byrd,
Fela Kuti,
Röyhkä ja Rättö ja Lehtisalo,
Lou Reed & John Cale,
Jacob Miller,
Lou Reed & Metallica,
Subhumans,
Wasted Youth,
R.M.O.,
The Pretty Things,
Ronan,
Michelle Simonal,
Be Bop Deluxe,
Archie Shepp,
The Gun Club,
The Misunderstood,
Scan 7,
Aloha Tigers,
Theoretical Girls,
Rod Modell,
Justin Hinds & The Dominoes,
Sly & The Family Stone,
Orchestral Manoeuvres in the Dark,
Deakin,
Sticky Fingaz feat. Raekwon,
Gang Starr, Gang Starr, Gang Starr, Gang Starr.
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.