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 Manchester.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 Paris and Columbus.
I'm losing my edge to the art-school Madrid 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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 Slits 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 The Moleskins. All the underground hits.
All Oblivians tracks. I heard you have a vinyl of every Minnie Riperton 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 '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Richard Hell and the Voidoids,
Lou Reed & John Cale,
The Buckinghams,
Lou Reed & Metallica,
Röyhkä ja Rättö ja Lehtisalo,
June Days,
The Move,
Crime,
Con Funk Shun,
Henry Cow,
Grey Daturas,
Teenage Jesus and the Jerks,
Pantytec,
The Dirtbombs,
Brothers Johnson,
Black Moon,
Howard Jones,
Popol Vuh,
Todd Terry,
ABBA,
Hashim,
Siglo XX,
Leonard Cohen,
LL Cool J,
Marine Girls,
Ohio Players,
Ultravox,
Carl Craig,
Sister Nancy,
Nick Cave & The Bad Seeds,
Saccharine Trust,
Tropical Tobacco,
Arcadia,
Half Japanese,
The Pop Group,
Man Parrish,
UT,
Oblivians,
The Gories,
Public Enemy,
Severed Heads,
Pharaoh Sanders and the Fire Engines,
Flipper,
Bronski Beat,
Groovy Waters,
K-Klass,
Bobby Byrd,
Idris Muhammad,
Smog,
Andrew Hill,
Johnny Clarke,
The Motions,
Goldenarms,
Essential Logic,
the Soft Cell,
Liliput,
Be Bop Deluxe,
Eden Ahbez,
The Grass Roots,
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.