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 Swaziland 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 1966 to 1978.
I'm losing my edge.
To all the kids in Halifax and Spokane.
I'm losing my edge to the art-school Tehran 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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Robert Palmer 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 Interpol to the dance 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 Hoover. All the underground hits.
All Arab on Radar tracks. I heard you have a vinyl of every Leonard Cohen record on German import.
I heard that you have a white label of every seminal grime 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 an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Gregory Isaacs record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantytec,
Electric Prunes,
Notorious BIG live in Amsterdam,
The Black Dice,
Frankie Knuckles,
Warren Ellis,
Major Organ And The Adding Machine,
Chris & Cosey,
Funkadelic,
Flamin' Groovies,
Gary Puckett & The Union Gap,
Visage,
the Normal,
Traffic Nightmare,
A Certain Ratio,
Mr. Review,
Crime,
Dave Gahan,
The Sound,
Lakeside,
Eyeless In Gaza,
The Mummies,
The Pretty Things,
John Holt,
Siouxsie and the Banshees,
The Toasters,
Michelle Simonal,
John Foxx,
Rufus Thomas,
Marcia Griffiths,
The Residents,
Subhumans,
Sex Pistols,
Erasure,
Black Pus,
Larry & the Blue Notes,
Roxette,
CMW,
Harry Pussy,
Crooked Eye,
The Kinks,
DeepChord presents Echospace,
KRS-One,
Black Sheep,
Fad Gadget,
Mantronix,
Crispian St. Peters,
Lungfish,
Connie Case,
Jandek,
Scratch Acid,
The Moleskins,
Piero Umiliani,
Yellowson,
Nirvana,
E-Dancer,
The United States of America,
Das Ding,
Fugazi,
Drive Like Jehu,
The Electric Prunes,
Los Fastidios,
Hardrive, Hardrive, Hardrive, Hardrive.
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.