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 Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Taipei and Shanghai.
I'm losing my edge to the art-school Tokyo 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 guitar 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 One Last Wish to the grunge kids.
I played it at the Troubador.
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 Lou Reed. All the underground hits.
All Cymande tracks. I heard you have a vinyl of every Eddi Front record on German import.
I heard that you have a white label of every seminal dance 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 güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Radiohead record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Hood,
Kango’s Stein Massive,
The Star Department,
Man Parrish,
Aural Exciters,
The Gap Band,
Pulsallama,
The Mojo Men,
Kerri Chandler,
Sun City Girls,
Magma,
The Blues Magoos,
Hashim,
Davy DMX,
Pharaoh Sanders and the Fire Engines,
cv313,
Howard Jones,
Peter Gordon & Love of Life Orchestra,
D'Angelo,
Toni Rubio,
Robert Görl,
Smog,
The Modern Lovers,
June of 44,
Rowland S Howard / Lydia Lunch,
Essential Logic,
Fear,
The Music Machine,
Kool Moe Dee,
Dual Sessions,
The Sonics,
K-Klass,
Dawn Penn,
A Certain Ratio,
The Fall,
the Fania All-Stars,
Scion,
Nico,
The West Coast Pop Art Experimental Band,
Procol Harum,
Gil Scott-Heron and Jamie xx,
Stockholm Monsters,
The Barracudas,
Radio Birdman,
Don Cherry,
The Raincoats,
Angels of Light & Akron/Family,
The Move,
Babytalk,
Archie Shepp,
ABBA,
Dorothy Ashby,
Gary Puckett & The Union Gap,
Arcadia,
Avey Tare & Kría Brekkan,
The Golliwogs,
The Cramps,
Unwound,
Cybotron,
Darondo,
Monolake,
Soul II Soul,
World's Most, World's Most, World's Most, World's Most.
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.