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 Burkina and from New York.
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 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Winnipeg.
I'm losing my edge to the art-school Paris 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the oboe sounds with much patience.
I was there when Michael McDonald 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 Marshall Jefferson to the techno kids.
I played it at the Hacienda.
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 Lower 48. All the underground hits.
All The Standells tracks. I heard you have a vinyl of every The Fugs record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Electric Prunes 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?
A Flock of Seagulls,
Gregory Isaacs,
La Düsseldorf,
The Gap Band,
Gabor Szabo,
Sandy B,
Popol Vuh,
The New Christs,
The Electric Prunes,
Black Bananas,
Andrew Hill,
Bronski Beat,
Talk Talk,
Depeche Mode,
The Peanut Butter Conspiracy,
Siouxsie and the Banshees,
Stockholm Monsters,
Barry Ungar,
Von Mondo,
Sugar Minott,
DJ Sneak,
Malaria!,
The Seeds,
June Days,
Babytalk,
Loose Ends,
the Soft Cell,
Faraquet,
The Monochrome Set,
K-Klass,
Soft Cell,
The Sisters of Mercy,
The Five Americans,
Lafayette Afro Rock Band,
Sight & Sound,
Sex Pistols,
Orchestral Manoeuvres in the Dark,
Connie Case,
Joey Negro,
Little Man,
Hashim,
Bill Wells,
Adolescents,
The Modern Lovers,
Kango’s Stein Massive,
Ohio Players,
Mad Mike,
Spandau Ballet,
Man Eating Sloth,
Echospace,
Eli Mardock,
Black Sheep,
Godley & Creme,
Eyeless In Gaza,
The Cramps,
The Searchers,
Avey Tare's Slasher Flicks,
Marshall Jefferson,
Fat Boys,
The Red Krayola,
Scott Walker + Sunn O))),
Soft Machine,
Patti Smith,
Kool G Rap & DJ Polo,
Icehouse, Icehouse, Icehouse, Icehouse.
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.