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 Morocco and from Delhi.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Toronto and Beijing.
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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the 808 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 F. McDonald to the electroclash kids.
I played it at Trash.
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 Eve St. Jones. All the underground hits.
All Thinking Fellers Union Local 282 tracks. I heard you have a vinyl of every Supertramp record on German import.
I heard that you have a white label of every seminal disco 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 an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Agent Orange 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?
Traffic Nightmare,
Brothers Johnson,
Kayak,
Susan Cadogan,
Mark Hollis,
Bill Near,
Eric Copeland,
It's A Beautiful Day,
Ultra Naté,
Animal Collective,
Ponytail,
The Smiths,
Japan,
Gregory Isaacs,
Barry Ungar,
Oneida,
Motorama,
The Saints,
The Fall,
Rahsaan Roland Kirk,
Kaleidoscope,
Cymande,
Lungfish,
Wings,
Peter & Gordon,
Gary Puckett & The Union Gap,
Letta Mbulu,
Dennis Brown,
Boogie Down Productions,
New Age Steppers,
Art Ensemble Of Chicago,
Yusef Lateef,
Rosa Yemen,
Junior Murvin,
Lou Christie,
Peter Gordon & Love of Life Orchestra,
The Skatalites,
Swans,
The Fortunes,
Max Romeo,
Bobbi Humphrey,
The Associates,
The Index,
Underground Resistance,
Davy DMX,
X-101,
The Misunderstood,
Monks,
Fugazi,
Little Man,
Negative Approach,
Visionaries,LMNO, T- Love & Iriscience,
The Red Krayola,
The Divine Comedy,
Parry Music,
Camron Feat. Memphis Bleek And Beenie Seigel,
Kerrie Biddell,
Royal Trux,
Eden Ahbez,
Average White Band,
Marshall Jefferson,
A Certain Ratio,
Wally Richardson,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.