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 St Kitts & Nevis and from Bologna.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Delhi and Copenhagen.
I'm losing my edge to the art-school Bologna 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 808 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 Fluxion to the electroclash 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 Japan. All the underground hits.
All Cameo tracks. I heard you have a vinyl of every The Doors 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 '80s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Barracudas 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?
Icehouse,
Bronski Beat,
Robert Görl,
Röyhkä ja Rättö ja Lehtisalo,
Warren Ellis,
Nick Fraelich,
John Coltrane,
One Last Wish,
Technova,
John Foxx,
The Vogues,
Grauzone,
Yaz,
Rekid,
Das Ding,
Sixth Finger,
Gang Starr,
Niagra,
Crispian St. Peters,
Notorious Big And Bone Thugs,
Skarface,
Masters at Work,
Black Flag,
Gil Scott-Heron & Brian Jackson,
Boz Scaggs,
Erykah Badu,
Index,
The Remains,
The Victims,
Lindisfarne,
Piero Umiliani,
The Electric Prunes,
Throbbing Gristle,
cv313,
Monks,
Babytalk,
ABC,
Hashim,
The Jesus and Mary Chain,
Black Moon,
Blancmange,
Crooked Eye,
The Buckinghams,
Ohio Players,
Soft Cell,
Eric B and Rakim,
Pharoah Sanders,
E-Dancer,
Lou Reed,
Sun Ra,
Minny Pops,
MC5,
The Walker Brothers,
Gabor Szabo,
The United States of America,
Gang Gang Dance,
Accadde A,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.