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 Togo and from Johannesburg.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Delhi and Bremen.
I'm losing my edge to the art-school Milan 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 1984 at the first Arcadia practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Lou Reed 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 Jesper Dahlbäck to the disco kids.
I played it at Cafe Wha.
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 Sex Pistols. All the underground hits.
All John Cale tracks. I heard you have a vinyl of every Joe Finger 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 '50s cut and another box set from the '90s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Count Five,
Ornette Coleman,
Sugar Minott,
Peter Gordon & Love of Life Orchestra,
Suicide,
Strawberry Alarm Clock,
Boz Scaggs,
Deakin,
Lucky Dragons,
Kurtis Blow,
Bootsy's Rubber Band,
UT,
The Move,
Eurythmics,
Reagan Youth,
London Community Gospel Choir,
the Soft Cell,
The Dave Clark Five,
Motorama,
Beasts of Bourbon,
Parry Music,
Robert Wyatt,
Country Joe & The Fish,
The Toasters,
Mantronix,
kango's stein massive,
Scrapy,
The Doors,
Oppenheimer Analysis,
Kango’s Stein Massive,
Youth Brigade,
Adolescents,
Marc Romboy vs. Booka Shade,
EPMD,
Procol Harum,
Electric Light Orchestra,
Aloha Tigers,
Japan,
Blancmange,
Lakeside,
The Moody Blues,
Lindisfarne,
Altered Images,
Super Lover Cee & Casanova Rud,
The Neon Judgement,
Black Moon,
Public Image Ltd.,
Quantec,
Hasil Adkins,
the Swans,
Flash Fearless,
U.S. Maple,
Idris Muhammad,
Tears for Fears,
Make Up,
The Real Kids,
James Chance & The Contortions,
Sly & The Family Stone,
Tom Boy,
Shuggie Otis,
Pylon,
The Seeds,
Crime,
Q65, Q65, Q65, Q65.
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.