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 Bahamas and from Tehran.
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 1972.
I'm losing my edge.
To all the kids in Lille and Jakarta.
I'm losing my edge to the art-school Glasgow 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the snare 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 Traffic Nightmare to the techno 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 Gang Gang Dance. All the underground hits.
All Maleditus Sound tracks. I heard you have a vinyl of every Hoover record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Second Layer record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
Fluxion,
Steve Hackett,
Thee Headcoats,
Aaron Thompson,
Rufus Thomas,
Cymande,
James Chance & The Contortions,
Gang Gang Dance,
John Coltrane,
Rod Modell,
Nils Olav,
Moss Icon,
New Age Steppers,
Flamin' Groovies,
Crash Course in Science,
Bobby Sherman,
Wolf Eyes,
The Chocolate Watch Band,
Kevin Saunderson,
Youth Brigade,
The Last Poets,
Soulsonic Force,
Wings,
Don Cherry,
Circle Jerks,
Strawberry Alarm Clock,
Eve St. Jones,
Altered Images,
Pagans,
Joyce Sims,
R.M.O.,
Sugar Minott,
Alice Coltrane,
Scan 7,
Rowland S Howard / Lydia Lunch,
The American Breed,
Audionom,
The Zeros,
Amazonics,
The Stooges,
Q and Not U,
Jimmy McGriff,
Echo & the Bunnymen,
Dave Gahan,
The Victims,
Main Source,
Toni Rubio,
Peter & Gordon,
Parry Music,
Thompson Twins,
The Slackers,
Ultravox,
Vladislav Delay,
ABBA,
Thinking Fellers Union Local 282,
Scott Walker,
Rhythm & Sound,
Marine Girls,
Ornette Coleman,
Matthew Bourne,
Radiopuhelimet,
U.S. Maple, U.S. Maple, U.S. Maple, U.S. Maple.
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.