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 Ethiopia and from Manchester.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1971.
I'm losing my edge.
To all the kids in Mumbai and Lille.
I'm losing my edge to the art-school Seoul 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 808 sounds with much patience.
I was there when Lou Reed 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 Depeche Mode to the jazz kids.
I played it at CBGB's.
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 Ten City. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every Grey Daturas record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Clear Light record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flash Fearless,
Peter and Kerry,
Animal Collective,
The Walker Brothers,
Masters at Work,
The Music Machine,
Suburban Knight,
Sonny Sharrock,
The Dead C,
Bobby Womack,
Moby Grape,
kango's stein massive,
David McCallum,
Mandrill,
The Gap Band,
the Normal,
Silicon Teens,
Easy Going,
Jeff Lynne,
The Barracudas,
Dark Day,
Don Cherry,
Avey Tare's Slasher Flicks,
Andrew Ashong & Theo Parrish,
Cluster,
Danielle Patucci,
Tropical Tobacco,
The Monochrome Set,
Robert Görl,
The Litter,
Gastr Del Sol,
Fat Boys,
Gil Scott-Heron & Brian Jackson,
Surgeon,
Icehouse,
Eve St. Jones,
Skarface,
The Names,
Traffic Nightmare,
Dawn Penn,
Vaughan Mason & Crew,
Letta Mbulu,
Eli Mardock,
Barclay James Harvest,
The Cowsills,
Art Ensemble Of Chicago,
Second Layer,
The Pretty Things,
Severed Heads,
The Gladiators,
Howard Jones,
David Bowie,
Liliput,
Dorothy Ashby,
Henry Cow,
Cal Tjader,
Main Source,
Bluetip,
Swell Maps,
Eric Copeland,
Bronski Beat, Bronski Beat, Bronski Beat, Bronski Beat.
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.