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 Somalia 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 1969 to 1973.
I'm losing my edge.
To all the kids in Salvador and Manila.
I'm losing my edge to the art-school Winnipeg 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 clarinet sounds with much patience.
I was there when David Bowie 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 Mad Mike to the electroclash kids.
I played it at the Astoria.
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 Move. All the underground hits.
All Kings Of Tomorrow tracks. I heard you have a vinyl of every Mandrill 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 '50s cut and another box set from the '90s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Erasure record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Royal Trux,
John Holt,
Lucky Dragons,
Archie Shepp,
The Mighty Diamonds,
Camron Feat. Memphis Bleek And Beenie Seigel,
Urselle,
Gerry Rafferty,
Radiohead,
Porter Ricks,
La Düsseldorf,
Avey Tare,
Ice-T,
Amon Düül,
June of 44,
Half Japanese,
Marcia Griffiths,
Robert Wyatt,
Mad Mike,
Peter & Gordon,
Aswad,
Leonard Cohen,
China Crisis,
Scan 7,
Ponytail,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
U.S. Maple,
Nick Cave & The Bad Seeds,
Richard Hell and the Voidoids,
Grandmaster Flash and the Furious Five,
Deutsch Amerikanische Freundschaft,
Black Bananas,
Jerry Gold Smith,
Cal Tjader,
James Chance & The Contortions,
The Angels of Light,
Graham Central Station,
Rosa Yemen,
Lafayette Afro Rock Band,
The Monochrome Set,
The Victims,
Peter and Kerry,
Franke,
David McCallum,
Sonic Youth,
The American Breed,
Deadbeat,
Rekid,
Trumans Water,
Cluster,
Pet Shop Boys,
B.T. Express,
The Dirtbombs,
Parry Music,
H. Thieme,
Kerrie Biddell,
David Axelrod,
Marshall Jefferson,
Ituana,
Orchestral Manoeuvres in the Dark,
Slick Rick, Slick Rick, Slick Rick, Slick Rick.
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.