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 Egypt and from Hong Kong.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Accra and Lille.
I'm losing my edge to the art-school Beijing 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 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 Be Bop Deluxe to the techno kids.
I played it at the Roxy.
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 Barry Ungar. All the underground hits.
All The Associates tracks. I heard you have a vinyl of every Young Marble Giants record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Outsiders record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharaoh Sanders and the Fire Engines,
Henry Cow,
Marc Almond,
Erykah Badu,
Q65,
The Remains,
The Sonics,
John Cale,
Man Parrish,
The Sisters of Mercy,
Captain Beefheart & His Magic Band,
Johnny Osbourne,
Bob Dylan,
Jawbox,
Sad Lovers and Giants,
Gian Franco Pienzio,
Cybotron,
Rhythm & Sound,
Ten City,
Sun City Girls,
Aloha Tigers,
Ponytail,
Oppenheimer Analysis,
Manfred Mann's Earth Band,
Maleditus Sound,
Sonny Sharrock,
Scan 7,
Jerry's Kids,
Notorious BIG live in Amsterdam,
The Alarm Clocks,
Supertramp,
the Normal,
Pantytec,
Neil Young & Crazy Horse,
One Last Wish,
Fugazi,
Theoretical Girls,
Letta Mbulu,
The Martian,
Todd Rundgren,
The Blackbyrds,
The Fuzztones,
Ornette Coleman,
Wally Richardson,
Duran Duran,
Art Ensemble Of Chicago,
Avey Tare,
Black Pus,
Swans,
Harry Pussy,
ABBA,
Joe Smooth,
Bang On A Can,
Don Cherry,
Bauhaus,
Gichy Dan,
Rakim,
Sexual Harrassment, Sexual Harrassment, Sexual Harrassment, Sexual Harrassment.
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.