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 Edmonton.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1979.
I'm losing my edge.
To all the kids in Woodstock and Tehran.
I'm losing my edge to the art-school Houston 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the oboe sounds with much patience.
I was there when Michael McDonald 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 Procol Harum to the disco kids.
I played it at the Astoria.
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 The Human League. All the underground hits.
All Brand Nubian tracks. I heard you have a vinyl of every Lonnie Liston Smith 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 '50s cut and another box set from the '70s.
I hear you're buying a rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Soulsonic Force record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Trojans,
Selector Dub Narcotic,
Nick Cave & The Bad Seeds,
Dead Boys,
The Last Poets,
Scientists,
Yaz,
Skaos,
Avey Tare's Slasher Flicks,
Supertramp,
The Dirtbombs,
Bill Wells,
The Names,
Pole,
Vladislav Delay,
F. McDonald,
La Düsseldorf,
Henry Cow,
Amon Düül,
cv313,
48th St. Collective,
Funky Four + One,
The Busters,
Brick,
Robert Hood,
Lalann,
Gang of Four,
T.S.O.L.,
The Cramps,
Smog,
Wally Richardson,
Soft Cell,
A Flock of Seagulls,
Nick Fraelich,
Joey Negro,
Urselle,
Rahsaan Roland Kirk,
The Red Krayola,
Howard Jones,
Quando Quango,
Tears for Fears,
John Lydon,
UT,
Mars,
Harmonia,
Sällskapet,
Eric Dolphy,
The Standells,
Junior Murvin,
CMW,
Agitation Free,
Flash Fearless,
China Crisis,
Art Ensemble Of Chicago,
Sly & The Family Stone,
MC5,
Peter and Kerry,
Gastr Del Sol,
Goldenarms,
Girls At Our Best!,
Zero Boys,
Public Image Ltd., Public Image Ltd., Public Image Ltd., Public Image Ltd..
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.