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 Australia and from Glasgow.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1960 to 1976.
I'm losing my edge.
To all the kids in Philadelphia and Portland.
I'm losing my edge to the art-school Delhi 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 theremin 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 Tears for Fears to the disco kids.
I played it at Trash.
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 Soul Sonic Force. All the underground hits.
All Jandek tracks. I heard you have a vinyl of every Theoretical Girls record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Basic Channel record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camron Feat. Memphis Bleek And Beenie Seigel,
The Blackbyrds,
Stiv Bators,
Gang of Four,
Yaz,
Tears for Fears,
the Slits,
Robert Wyatt,
The Gun Club,
Smog,
Adolescents,
Jeff Lynne,
Faraquet,
The Move,
Zero Boys,
Livin' Joy,
Essential Logic,
John Coltrane,
New Age Steppers,
Minnie Riperton,
Interpol,
Yellowson,
Clear Light,
Roy Ayers Ubiquity,
The American Breed,
John Foxx,
Ultra Naté,
Avey Tare,
the Germs,
Tim Buckley,
Connie Case,
Echo & the Bunnymen,
Circle Jerks,
The Count Five,
Fad Gadget,
Grandmaster Flash and the Furious Five,
The West Coast Pop Art Experimental Band,
F. McDonald,
Bluetip,
Be Bop Deluxe,
Fat Boys,
The Martian,
Excepter,
UT,
Talk Talk,
Jeru the Damaja,
Kerrie Biddell,
The Victims,
Drive Like Jehu,
The Gap Band,
The Wake,
Gary Puckett & The Union Gap,
The Golliwogs,
Animal Collective,
The Selecter,
Tomorrow,
Royal Trux,
Man Eating Sloth,
Average White Band,
Rakim,
Amazonics, Amazonics, Amazonics, Amazonics.
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.