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 Paris.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Seoul and Calgary.
I'm losing my edge to the art-school New York 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 spring reverb 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 Tommy Roe to the dance 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 Howard Jones. All the underground hits.
All Soft Cell tracks. I heard you have a vinyl of every Camouflage record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Sherman record.
I hear that you and your band have sold your marimba and bought a 808.
I hear that you and your band have sold your 808 and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
Janne Schatter,
Laurel Aitken,
Marc Almond,
Hashim,
Camron Feat. Memphis Bleek And Beenie Seigel,
Icehouse,
Kauko Röyhkä ja Narttu,
The Sisters of Mercy,
Interpol,
Bill Wells,
Junior Murvin,
Ultravox,
Kurtis Blow,
Ossler,
De La Soul & Jungle Brothers,
Talk Talk,
Procol Harum,
The Stooges,
Roy Ayers Ubiquity,
Monolake,
Roxette,
Notorious BIG live in Amsterdam,
Marine Girls,
Drexciya,
Ronnie Foster,
MDC,
Sonny Sharrock,
The Walker Brothers,
Kerrie Biddell,
Bootsy's Rubber Band,
Leonard Cohen,
Teenage Jesus and the Jerks,
Boz Scaggs,
DNA,
The Victims,
Heaven 17,
Excepter,
Ohio Players,
Erykah Badu,
David Bowie,
Erasure,
Nik Kershaw,
H. Thieme,
The Gladiators,
Al Stewart,
Gil Scott-Heron & Brian Jackson,
Stiv Bators,
The Doobie Brothers,
Man Parrish,
Urselle,
Rhythm & Sound,
Big Daddy Kane,
Althea and Donna,
the Human League,
Mark Hollis,
Barry Ungar,
Deakin,
The Blues Magoos,
Orchestral Manoeuvres in the Dark,
The Electric Prunes,
Harpers Bizarre, Harpers Bizarre, Harpers Bizarre, Harpers Bizarre.
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.