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 Glasgow.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1972.
I'm losing my edge.
To all the kids in Winnipeg and Seoul.
I'm losing my edge to the art-school Lille 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the clarinet sounds with much patience.
I was there when David Bowie 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 Michelle Simonal to the jazz 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 Electric Light Orchestra. All the underground hits.
All Traffic Nightmare tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Faust record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marmalade,
Sixth Finger,
Public Image Ltd.,
Index,
Colin Newman,
Ultimate Spinach,
The Cure,
Fifty Foot Hose,
Rekid,
Rod Modell,
John Cale,
David Bowie,
The Chocolate Watch Band,
The Dead C,
the Normal,
Bobby Sherman,
Talk Talk,
Outsiders,
Bush Tetras,
The Associates,
The West Coast Pop Art Experimental Band,
Wasted Youth,
The Skatalites,
Easy Going,
Oppenheimer Analysis,
Alice Coltrane,
Danielle Patucci,
Minutemen,
Gian Franco Pienzio,
Niagra,
Amon Düül II,
Liliput,
X-101,
Big Daddy Kane,
The Electric Prunes,
Section 25,
Dual Sessions,
The Walker Brothers,
Joe Smooth,
The Buckinghams,
Rowland S Howard / Lydia Lunch,
Kevin Saunderson,
Nation of Ulysses,
JFA,
Jeru the Damaja,
Underground Resistance,
Be Bop Deluxe,
Jerry's Kids,
Country Teasers,
Janne Schatter,
Erasure,
Drive Like Jehu,
Sun Ra,
Crispy Ambulance,
The Happenings,
Tim Buckley,
Moby Grape,
Swans,
The Velvet Underground,
The Motions,
Mantronix,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.