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 Rwanda and from Portland.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1970.
I'm losing my edge.
To all the kids in London and Accra.
I'm losing my edge to the art-school Salvador 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 arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 The Slits to the grunge kids.
I played it at the Hacienda.
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 Avey Tare's Slasher Flicks. All the underground hits.
All Peter and Kerry tracks. I heard you have a vinyl of every Eden Ahbez 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 '50s cut and another box set from the '80s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Average White Band record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Duran Duran,
Ossler,
Cymande,
Electric Light Orchestra,
Ultramagnetic MC's,
Rahsaan Roland Kirk,
Von Mondo,
Soft Machine,
Flash Fearless,
Cheater Slicks,
Fear,
James White and The Blacks,
Oneida,
Skaos,
Cabaret Voltaire,
Essential Logic,
Animal Collective,
John Lydon,
Lalo Schifrin,
Bizarre Inc.,
Minutemen,
Urselle,
The Sound,
Vladislav Delay,
Drive Like Jehu,
The Happenings,
Scion,
Tropical Tobacco,
Eden Ahbez,
X-102,
Colin Newman,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Robert Görl,
Bobby Womack,
Masters at Work,
Strawberry Alarm Clock,
The Mummies,
The Durutti Column,
Harpers Bizarre,
Laurel Aitken,
Eve St. Jones,
David Axelrod,
Major Organ And The Adding Machine,
the Sonics,
Marshall Jefferson,
Radiopuhelimet,
Gerry Rafferty,
Kas Product,
Todd Terry,
The Black Dice,
Jeru the Damaja,
The United States of America,
Lucky Dragons,
The West Coast Pop Art Experimental Band,
Altered Images,
Drexciya,
The Litter,
Johnny Osbourne,
China Crisis,
Kerrie Biddell,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.