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 Bangladesh and from Bremen.
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 1973.
I'm losing my edge.
To all the kids in Copenhagen and Sao Paulo.
I'm losing my edge to the art-school Sao Paulo 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 Lower 48 to the disco kids.
I played it at the Spitz.
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 Count Five. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every Amon Düül II record on German import.
I heard that you have a white label of every seminal disco 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 an oboe and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a In Retrospect record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shoche,
The Gun Club,
The Vogues,
Neil Young,
Stetsasonic,
Infiniti,
Desert Stars,
The Dirtbombs,
X-101,
Main Source,
Reagan Youth,
Beasts of Bourbon,
Lou Reed & John Cale,
the Human League,
UT,
James Chance & The Contortions,
Supertramp,
Can,
The Martian,
EPMD,
The Motions,
Pet Shop Boys,
Todd Rundgren,
Blancmange,
Sixth Finger,
Deakin,
Delon & Dalcan,
The Buckinghams,
Peter Gordon & Love of Life Orchestra,
Pierre Henry,
Gang Gang Dance,
Cybotron,
Rhythm & Sound,
London Community Gospel Choir,
Flash Fearless,
Barry Ungar,
The Detroit Cobras,
The Neon Judgement,
Black Sheep,
Tim Buckley,
The Saints,
Saccharine Trust,
Drexciya,
David McCallum,
Mary Jane Girls,
Japan,
Talk Talk,
Alison Limerick,
Minor Threat,
Letta Mbulu,
Public Image Ltd.,
Larry & the Blue Notes,
Kurtis Blow,
Theoretical Girls,
The Smiths,
Camron Feat. Memphis Bleek And Beenie Seigel,
Joe Finger,
Vaughan Mason & Crew,
Amazonics,
Terrestrial Tones,
The Monks,
Grauzone,
Interpol, Interpol, Interpol, Interpol.
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.