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 Lyon.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Lyon and Cairo.
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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the chamberlin 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 Orchestral Manoeuvres in the Dark to the punk kids.
I played it at the Astoria.
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 Dawn Penn. All the underground hits.
All Model 500 tracks. I heard you have a vinyl of every The Seeds record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Buckinghams record.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kurtis Blow,
Gary Puckett & The Union Gap,
Minor Threat,
The Associates,
Sam Rivers,
Ossler,
The Five Americans,
The Doors,
Moebius,
Ronan,
Crispy Ambulance,
Siouxsie and the Banshees,
Black Bananas,
Ajijia Myrayebe,
The Durutti Column,
Mandrill,
a-ha,
The Golliwogs,
L. Decosne,
Siglo XX,
Robert Görl,
Monolake,
Danielle Patucci,
The Divine Comedy,
Vladislav Delay,
Bill Near,
Scott Walker,
Average White Band,
Girls At Our Best!,
The Beau Brummels,
Swell Maps,
Jimmy McGriff,
Reagan Youth,
The Sound,
John Holt,
Nik Kershaw,
Warren Ellis,
Ronnie Foster,
The Detroit Cobras,
Dave Gahan,
Matthew Halsall,
Be Bop Deluxe,
Ornette Coleman,
Roy Ayers,
Maleditus Sound,
Yusef Lateef,
Leonard Cohen,
Throbbing Gristle,
Tears for Fears,
Newcleus,
Notorious BIG live in Amsterdam,
Dawn Penn,
Peter Gordon & Love of Life Orchestra,
A Flock of Seagulls,
Man Parrish,
The Jesus and Mary Chain,
Michelle Simonal,
Aloha Tigers,
the Slits,
Public Image Ltd.,
Brass Construction,
Kauko Röyhkä ja Narttu,
The Invisible, The Invisible, The Invisible, The Invisible.
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.