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 United States and from Houston.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1970.
I'm losing my edge.
To all the kids in Manchester and Johannesburg.
I'm losing my edge to the art-school Edmonton 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 organ 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 Liaisons Dangereuses to the rock kids.
I played it at the Troubador.
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 Kevin Saunderson. All the underground hits.
All Sugar Minott tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Peter & Gordon record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wasted Youth,
Japan,
Radiohead,
Unrelated Segments,
The Misunderstood,
Sparks,
Gian Franco Pienzio,
Alton Ellis,
Sandy B,
The Mighty Diamonds,
Man Parrish,
Yaz,
Oblivians,
Eddi Front,
Charles Mingus,
Grandmaster Flash and the Furious Five,
Liaisons Dangereuses,
Kauko Röyhkä ja Narttu,
Kas Product,
Letta Mbulu,
One Last Wish,
Essential Logic,
Symarip,
Crispian St. Peters,
The Associates,
Richard Hell and the Voidoids,
MC5,
The Busters,
Stereo Dub,
Mad Mike,
Khruangbin,
Maurizio,
Hardrive,
the Soft Cell,
Throbbing Gristle,
Brand Nubian,
Bauhaus,
Public Enemy,
Oppenheimer Analysis,
Gil Scott-Heron & Brian Jackson,
Amon Düül II,
Michelle Simonal,
Wolf Eyes,
The Monks,
The Moody Blues,
Red Lorry Yellow Lorry,
Con Funk Shun,
Max Romeo,
Guru Guru,
Urselle,
The Golliwogs,
Chris & Cosey,
B.T. Express,
Pylon,
The Toasters,
Crime,
Kayak,
The Gun Club,
The Trojans,
Faraquet,
Ultra Naté,
Lindisfarne,
Grauzone, Grauzone, Grauzone, Grauzone.
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.