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 Portugal and from Mumbai.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Woodstock.
I'm losing my edge to the art-school Beijing 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the theremin 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 Bobby Hutcherson to the grunge 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 Jesper Dahlbäck. All the underground hits.
All John Cale tracks. I heard you have a vinyl of every The Associates record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Marc Almond record.
I hear that you and your band have sold your 808 and bought a guitar.
I hear that you and your band have sold your guitar and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Popol Vuh,
Das Ding,
Freddie Wadling,
Sonny Sharrock,
Oneida,
Unrelated Segments,
Terry Callier,
Rufus Thomas,
Lizzy Mercier Descloux,
The Dirtbombs,
Dark Day,
Traffic Nightmare,
Jeff Lynne,
Bizarre Inc.,
Kauko Röyhkä ja Narttu,
Rod Modell,
Cameo,
Mo-Dettes,
Circle Jerks,
Idris Muhammad,
The Saints,
Neu!,
The Walker Brothers,
the Slits,
The Fuzztones,
Swell Maps,
Peter and Kerry,
The Sonics,
Jawbox,
The Offenders,
Sight & Sound,
Visionaries,LMNO, T- Love & Iriscience,
Icehouse,
Roy Ayers Ubiquity,
Neil Young,
Lyres,
Gregory Isaacs,
Boz Scaggs,
Pagans,
Bronski Beat,
Fad Gadget,
Average White Band,
Aloha Tigers,
Babytalk,
The Residents,
Crooked Eye,
La Düsseldorf,
The Royal Family And The Poor,
The Standells,
Nation of Ulysses,
Nik Kershaw,
Grandmaster Flash,
David McCallum,
Soul II Soul,
Henry Cow,
A Certain Ratio,
Louis and Bebe Barron,
Deepchord,
Maurizio,
Kerri Chandler,
The Index,
Altered Images, Altered Images, Altered Images, Altered Images.
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.