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 Lebanon and from Lille.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Sao Paulo and Lille.
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 mellotron sounds with much patience.
I was there when Lou Reed 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 John Holt to the punk kids.
I played it at the Crocodile.
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 Chrome. All the underground hits.
All Roxette tracks. I heard you have a vinyl of every Peter and Kerry record on German import.
I heard that you have a white label of every seminal rap 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 an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Hashim,
The Searchers,
Gary Puckett & The Union Gap,
Young Marble Giants,
Mars,
Eurythmics,
Jeru the Damaja,
Major Organ And The Adding Machine,
Boredoms,
The Young Rascals,
Chrome,
The Stooges,
Richard Hell and the Voidoids,
Drive Like Jehu,
Warren Ellis,
Nirvana,
Heavy D & The Boyz,
Cecil Taylor,
Junior Murvin,
The Litter,
Gastr Del Sol,
the Germs,
48th St. Collective,
Echospace,
In Retrospect,
The Moleskins,
Arab on Radar,
Eric B and Rakim,
Ultra Naté,
Roy Ayers Ubiquity,
Jesper Dahlbäck,
Larry & the Blue Notes,
Sun Ra Arkestra,
Organ,
JFA,
Rahsaan Roland Kirk,
Echo & the Bunnymen,
Intrusion,
China Crisis,
Anakelly,
Sonny Sharrock,
Juan Atkins,
Sunsets and Hearts,
Sly & The Family Stone,
Stetsasonic,
the Human League,
New Age Steppers,
Roxette,
Bizarre Inc.,
Grauzone,
Joe Smooth,
Thinking Fellers Union Local 282,
Bad Manners,
The Fortunes,
Andrew Ashong & Theo Parrish,
Joyce Sims,
Quantec,
AZ,
Deepchord,
The Royal Family And The Poor,
the Slits,
Bluetip,
Rhythim Is Rhythim,
Dave Gahan, Dave Gahan, Dave Gahan, Dave Gahan.
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.