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 Dominican Republic and from Paris.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Toronto and Paris.
I'm losing my edge to the art-school Columbus 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 1978 at the first Visage practice in a loft in London.
I was working on the arpeggiator 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 Theoretical Girls to the grime 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 Stereo Dub. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Albert Ayler 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 '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Larry & the Blue Notes record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kaleidoscope,
B.T. Express,
Godley & Creme,
Boogie Down Productions,
Blancmange,
Neil Young,
Dr. Dre and Snoop Doggy Dog,
Bronski Beat,
Al Stewart,
The Happenings,
Bob Dylan,
The Golliwogs,
The Associates,
The Index,
Zapp,
Minnie Riperton,
Piero Umiliani,
London Community Gospel Choir,
Monolake,
Grey Daturas,
Suicide,
Gang Starr,
Cal Tjader,
Iggy Pop,
Bootsy Collins,
Jawbox,
Whodini,
The Wake,
Todd Rundgren,
Connie Case,
The Jesus and Mary Chain,
Gian Franco Pienzio,
Juan Atkins,
Glambeats Corp.,
Flash Fearless,
The Mighty Diamonds,
Erasure,
Rapeman,
Second Layer,
Vainqueur,
Andrew Hill,
Jesper Dahlback,
Derrick Morgan,
Arcadia,
The Remains,
Severed Heads,
Peter & Gordon,
The Detroit Cobras,
Manfred Mann's Earth Band,
Porter Ricks,
The Sound,
Cameo,
The Modern Lovers,
Symarip,
Interpol,
Super Lover Cee & Casanova Rud,
the Association,
Pylon,
Amazonics,
Michelle Simonal,
Mark Hollis,
A Certain Ratio, A Certain Ratio, A Certain Ratio, A Certain Ratio.
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.