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 Argentina and from Spokane.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Accra and Portland.
I'm losing my edge to the art-school Tehran 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the guitar 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 Dawn Penn 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 Von Mondo. All the underground hits.
All Eli Mardock tracks. I heard you have a vinyl of every Soft Cell record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Alphaville record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Outsiders,
The Litter,
Fugazi,
48th St. Collective,
Buzzcocks,
The Fortunes,
Massinfluence,
Louis and Bebe Barron,
Tomorrow,
The Trojans,
The Fuzztones,
Pete Rock & C.L. Smooth,
Sonny Sharrock,
Half Japanese,
The J.B.'s,
Q65,
X-Ray Spex,
a-ha,
Matthew Halsall,
Public Enemy,
The Slits,
Oneida,
Joy Division,
Yaz,
Radiohead,
Avey Tare's Slasher Flicks,
The Blackbyrds,
Stockholm Monsters,
Procol Harum,
Howard Jones,
Organ,
Camouflage,
Andrew Ashong & Theo Parrish,
Eric Copeland,
The Kinks,
Roy Ayers Ubiquity,
Public Image Ltd.,
Symarip,
The Sonics,
The Cowsills,
Second Layer,
Slick Rick,
Ice-T,
Siouxsie and the Banshees,
The Cosmic Jokers,
OOIOO,
8 Eyed Spy,
Mark Hollis,
Robert Hood,
The Martian,
Delta 5,
Groovy Waters,
The Raincoats,
Heaven 17,
Popol Vuh,
EPMD,
Whodini,
Kas Product,
D'Angelo,
Tubeway Army,
Arcadia,
The Flesh Eaters,
Eric B and Rakim, Eric B and Rakim, Eric B and Rakim, Eric B and Rakim.
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.