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 Costa Rica and from Tehran.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Jakarta and Lyon.
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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the organ sounds with much patience.
I was there when Captain Beefheart 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 Cluster to the jazz 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 The Pretty Things. All the underground hits.
All Quando Quango tracks. I heard you have a vinyl of every Minor Threat 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 '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Terror Squad Feat. Camron record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marvin Gaye,
Nik Kershaw,
Judy Mowatt,
Accadde A,
Kango’s Stein Massive,
UT,
Kerrie Biddell,
Ultravox,
Warren Ellis,
Hardrive,
Agent Orange,
Thompson Twins,
The Techniques,
Jerry's Kids,
Sad Lovers and Giants,
Infiniti,
Cameo,
The Sound,
The Golliwogs,
Popol Vuh,
Skriet,
Dual Sessions,
Siouxsie and the Banshees,
Kurtis Blow,
Lightning Bolt,
DNA,
Pole,
The Zeros,
Circle Jerks,
Lou Reed & John Cale,
the Germs,
Bush Tetras,
Bizarre Inc.,
Bronski Beat,
Little Man,
Glambeats Corp.,
The Offenders,
John Lydon,
Monks,
Stiv Bators,
Amazonics,
Roxy Music,
Piero Umiliani,
The Walker Brothers,
Oblivians,
The Monks,
T. Rex,
Rahsaan Roland Kirk,
Larry & the Blue Notes,
Neil Young,
D'Angelo,
Kings Of Tomorrow,
Gil Scott-Heron & Brian Jackson,
Audionom,
Eli Mardock,
Barry Ungar,
Neu!,
Underground Resistance,
Scott Walker,
Ash Ra Tempel,
Bobby Hutcherson,
Jerry Gold Smith, Jerry Gold Smith, Jerry Gold Smith, Jerry Gold Smith.
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.