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 New York.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Glasgow and Houston.
I'm losing my edge to the art-school Tokyo 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 oboe sounds with much patience.
I was there when Robert Palmer 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 Nick Fraelich to the disco kids.
I played it at the 40 Watt.
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 Electric Prunes. All the underground hits.
All Rhythim Is Rhythim tracks. I heard you have a vinyl of every James White and The Blacks record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Heavy D & The Boyz,
Quantec,
Jerry Gold Smith,
Ossler,
Piero Umiliani,
Boogie Down Productions,
Gong,
Marc Almond,
Skaos,
Babytalk,
Arthur Verocai,
Nick Cave & The Bad Seeds,
Rapeman,
Half Japanese,
DJ Style,
Liaisons Dangereuses,
Television Personalities,
Gabor Szabo,
Urselle,
In Retrospect,
Ludus,
Ajijia Myrayebe,
Connie Case,
Easy Going,
Siouxsie and the Banshees,
Spoonie Gee,
Youth Brigade,
Strawberry Alarm Clock,
Average White Band,
The Barracudas,
The Zeros,
Crispian St. Peters,
Jawbox,
The Mighty Diamonds,
Crime,
Lower 48,
Animal Collective,
Tears for Fears,
Gian Franco Pienzio,
Yazoo,
Matthew Halsall,
Accadde A,
World's Most,
Whodini,
Qualms,
The Fuzztones,
Flash Fearless,
Matthew Bourne,
EPMD,
Interpol,
Boredoms,
Drive Like Jehu,
Kaleidoscope,
Bobby Hutcherson,
Nils Olav,
Michelle Simonal,
The Toasters,
Bang on a Can All-Stars,
Patti Smith,
Model 500,
Eurythmics, Eurythmics, Eurythmics, Eurythmics.
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.