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 Oman and from Beijing.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Lyon and Seoul.
I'm losing my edge to the art-school Manchester 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the linndrum sounds with much patience.
I was there when Nile Rodgers 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 John Foxx to the crunk 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 Pharaoh Sanders and the Fire Engines. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every Half Japanese 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 '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Tim Buckley record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radiohead,
Aural Exciters,
Strawberry Alarm Clock,
Heavy D & The Boyz,
Pierre Henry,
Harmonia,
A Flock of Seagulls,
Johnny Osbourne,
LL Cool J,
Peter & Gordon,
Television,
Suburban Knight,
Lonnie Liston Smith,
Fear,
The Barracudas,
Echo & the Bunnymen,
Matthew Halsall,
Public Image Ltd.,
The Kinks,
Warsaw,
Oppenheimer Analysis,
Clear Light,
The Mojo Men,
Henry Cow,
The Smoke,
The Evens,
The Doors,
Simply Red,
Lower 48,
Jandek,
John Foxx,
The Moleskins,
Connie Case,
Bobby Hutcherson,
Flash Fearless,
Rakim,
Peter Gordon & Love of Life Orchestra,
The New Christs,
Dave Gahan,
Nirvana,
Dark Day,
Alton Ellis,
Deutsch Amerikanische Freundschaft,
Ludus,
Q65,
Ohio Players,
Ituana,
Suicide,
Audionom,
Jerry's Kids,
Erasure,
Jesper Dahlbäck,
Inner City,
Michelle Simonal,
Junior Murvin,
The Zeros,
Dorothy Ashby,
Saccharine Trust,
Trumans Water,
KRS-One,
Country Teasers,
The Toasters,
Rapeman, Rapeman, Rapeman, Rapeman.
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.