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 Australia and from Toronto.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Columbus and Manila.
I'm losing my edge to the art-school Bremen 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 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 Larry & the Blue Notes to the electroclash 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 Alison Limerick. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every Magazine record on German import.
I heard that you have a white label of every seminal punk 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 spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Deepchord record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Procol Harum,
Avey Tare & Kría Brekkan,
The Searchers,
Country Teasers,
Clear Light,
kango's stein massive,
The Doors,
The Royal Family And The Poor,
Country Joe & The Fish,
The Monochrome Set,
Fad Gadget,
Monolake,
Masters at Work,
Thinking Fellers Union Local 282,
Absolute Body Control,
Deadbeat,
Quantec,
June Days,
Soft Cell,
Swans,
Section 25,
Gil Scott-Heron & Brian Jackson,
Fifty Foot Hose,
Pussy Galore,
Bronski Beat,
Ten City,
Nick Cave & The Bad Seeds,
Derrick Morgan,
Skarface,
Aloha Tigers,
Gang Green,
Ultravox,
Faraquet,
Y Pants,
H. Thieme,
Ituana,
Strawberry Alarm Clock,
John Coltrane,
Joey Negro,
The Skatalites,
Yazoo,
ABC,
The Jesus and Mary Chain,
The Happenings,
The Walker Brothers,
Michelle Simonal,
Alphaville,
a-ha,
Oneida,
Yaz,
The Tremeloes,
Eyeless In Gaza,
Art Ensemble Of Chicago,
Quadrant,
Dead Boys,
Von Mondo,
Eddi Front,
Qualms,
The Remains,
Kings Of Tomorrow,
Aaron Thompson,
Scrapy,
Wolf Eyes, Wolf Eyes, Wolf Eyes, Wolf Eyes.
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.