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 Serbia and from Columbus.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Philadelphia and Lyon.
I'm losing my edge to the art-school Stockholm 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 sitar 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 The Smiths to the rock kids.
I played it at the Spitz.
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 Fuzztones. All the underground hits.
All Yaz tracks. I heard you have a vinyl of every Liaisons Dangereuses record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Stooges record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Shadows of Knight,
Jeff Lynne,
Magma,
Technova,
Patti Smith,
Pagans,
The Mummies,
Heaven 17,
Marvin Gaye,
Kerrie Biddell,
Ludus,
The Busters,
Model 500,
Thompson Twins,
Suburban Knight,
Symarip,
Scott Walker,
The Human League,
Little Man,
Tres Demented,
The United States of America,
Second Layer,
Cymande,
Reagan Youth,
Sly & The Family Stone,
R.M.O.,
The Flesh Eaters,
Sunsets and Hearts,
Godley & Creme,
Faust,
Brass Construction,
Yazoo,
Johnny Osbourne,
Hasil Adkins,
Brothers Johnson,
Franke,
These Immortal Souls,
Spoonie Gee,
Dave Gahan,
Radiohead,
Eurythmics,
Lonnie Liston Smith,
E-Dancer,
Delon & Dalcan,
the Soft Cell,
The Slackers,
Gong,
Aural Exciters,
Terrestrial Tones,
Arab on Radar,
Interpol,
Minutemen,
Kas Product,
Sixth Finger,
Electric Prunes,
Robert Hood,
Groovy Waters,
Kayak,
Sugar Minott,
London Community Gospel Choir,
The Skatalites,
Pussy Galore,
The Vogues, The Vogues, The Vogues, The Vogues.
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.