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 France and from Woodstock.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1976.
I'm losing my edge.
To all the kids in Manchester and Lille.
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 Holger Czukay 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 Fuzztones to the crunk 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 Rod Modell. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every Oblivians record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Orchestral Manoeuvres in the Dark record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stetsasonic,
The Human League,
Motorama,
Interpol,
The Techniques,
Notorious BIG live in Amsterdam,
Animal Collective,
Sister Nancy,
Tommy Roe,
Nils Olav,
Andrew Hill,
Archie Shepp,
Funkadelic,
Outsiders,
The Young Rascals,
New Order,
Fat Boys,
Circle Jerks,
Average White Band,
Pylon,
A Flock of Seagulls,
John Coltrane,
Ronan,
Soulsonic Force,
The Martian,
Section 25,
Loose Ends,
E-Dancer,
The Cure,
The United States of America,
Young Marble Giants,
Clear Light,
Lonnie Liston Smith,
The Raincoats,
Cameo,
The Moleskins,
The Trojans,
X-102,
The Pretty Things,
Duran Duran,
the Fania All-Stars,
Super Lover Cee & Casanova Rud,
Bobby Womack,
The Stooges,
La Düsseldorf,
The Sound,
The Kinks,
Flash Fearless,
Sad Lovers and Giants,
Arthur Verocai,
Deutsch Amerikanische Freundschaft,
Notorious Big And Bone Thugs,
Letta Mbulu,
Peter and Kerry,
Public Enemy,
Mo-Dettes,
Pagans,
The Neon Judgement,
Gil Scott Heron,
Hardrive,
The Victims,
Kool G Rap & DJ Polo,
Röyhkä ja Rättö ja Lehtisalo,
Soul Sonic Force, Soul Sonic Force, Soul Sonic Force, Soul Sonic Force.
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.