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 Guinea and from Lille.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Lagos.
I'm losing my edge to the art-school Houston 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 1978 at the first Visage practice in a loft in London.
I was working on the marimba sounds with much patience.
I was there when Holger Czukay 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 Fat Boys to the dance kids.
I played it at the 40 Watt.
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 OOIOO. All the underground hits.
All Rhythm & Sound tracks. I heard you have a vinyl of every The Sonics record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Electric Light Orchestra record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alphaville,
Visionaries,LMNO, T- Love & Iriscience,
Wire,
Isaac Hayes,
Deakin,
Siglo XX,
Wings,
Easy Going,
The Gories,
Bobby Hutcherson,
Leonard Cohen,
Cluster,
Au Pairs,
The Cure,
Mr. Review,
Heaven 17,
Michelle Simonal,
Qualms,
The Dave Clark Five,
The Mummies,
Cal Tjader,
Japan,
Boogie Down Productions,
Selector Dub Narcotic,
Nation of Ulysses,
Basic Channel,
Angry Samoans,
The Standells,
Eric B and Rakim,
Metal Thangz,
Liliput,
Fugazi,
Kas Product,
Mandrill,
Excepter,
Cheater Slicks,
the Bar-Kays,
Das Ding,
Bobby Sherman,
The Barracudas,
The Tremeloes,
Silicon Teens,
The Wake,
D'Angelo,
Cameo,
Alison Limerick,
Echospace,
Marvin Gaye,
Deutsch Amerikanische Freundschaft,
Dr. Dre and Snoop Doggy Dog,
The Busters,
The Five Americans,
Eyeless In Gaza,
Barry Ungar,
Notorious BIG live in Amsterdam,
Oneida,
Saccharine Trust,
Janne Schatter,
The United States of America,
Fear,
Section 25,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.