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 Belgium and from Salvador.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1966 to 1973.
I'm losing my edge.
To all the kids in Manila and Houston.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the mellotron 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 The Busters to the electroclash kids.
I played it at the Crocodile.
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 Q and Not U. All the underground hits.
All Jerry Gold Smith tracks. I heard you have a vinyl of every Sparks record on German import.
I heard that you have a white label of every seminal techno 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 harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & Metallica,
The Martian,
Monolake,
The Star Department,
David Axelrod,
Röyhkä ja Rättö ja Lehtisalo,
New York Dolls,
K-Klass,
Sight & Sound,
The Music Machine,
Panda Bear,
JFA,
Man Parrish,
World's Most,
Todd Terry,
Freddie Wadling,
Ituana,
Groovy Waters,
Heavy D & The Boyz,
Cecil Taylor,
Stereo Dub,
Lakeside,
Fatback Band,
48th St. Collective,
Tears for Fears,
The Stooges,
LL Cool J,
Au Pairs,
Pylon,
The Shadows of Knight,
Visionaries,LMNO, T- Love & Iriscience,
Teenage Jesus and the Jerks,
10cc,
Jimmy McGriff,
Pere Ubu,
Rekid,
Ronan,
Sparks,
Susan Cadogan,
Adolescents,
Schoolly D,
Bobby Hutcherson,
Derrick May,
Lou Reed & John Cale,
Reagan Youth,
The Alarm Clocks,
Peter Gordon & Love of Life Orchestra,
Gil Scott-Heron & Brian Jackson,
PIL,
Mantronix,
Rod Modell,
The Toasters,
The Kinks,
Duran Duran,
The Move,
Q and Not U,
Nick Cave & The Bad Seeds,
The Dirtbombs,
F. McDonald,
Crash Course in Science,
Livin' Joy,
Depeche Mode,
Royal Trux, Royal Trux, Royal Trux, Royal Trux.
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.