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 Liberia and from Stockholm.
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 1974.
I'm losing my edge.
To all the kids in Manila and Edmonton.
I'm losing my edge to the art-school Toronto 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 Shoche to the crunk kids.
I played it at Cafe Wha.
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 Rhythm & Sound. All the underground hits.
All AZ tracks. I heard you have a vinyl of every Alison Limerick record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible record.
I hear that you and your band have sold your guitar and bought a sitar.
I hear that you and your band have sold your sitar and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cowsills,
Pierre Henry,
Scott Walker + Sunn O))),
The West Coast Pop Art Experimental Band,
Larry & the Blue Notes,
Jacques Brel,
Minor Threat,
Sällskapet,
New York Dolls,
Absolute Body Control,
Infiniti,
Main Source,
Jeru the Damaja,
Max Romeo,
Frankie Knuckles,
The Monks,
Moebius,
Tropical Tobacco,
Boz Scaggs,
Loose Ends,
One Last Wish,
Visage,
The Associates,
Richard Hell and the Voidoids,
Terrestrial Tones,
Agent Orange,
Echo & the Bunnymen,
Scott Walker,
Crash Course in Science,
Traffic Nightmare,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Half Japanese,
Alton Ellis,
Can,
The Smoke,
Yaz,
Hardrive,
L. Decosne,
Nils Olav,
Faust,
Barry Ungar,
Wire,
Fort Wilson Riot,
Slave,
Captain Beefheart & His Magic Band,
Joy Division,
EPMD,
Spandau Ballet,
Agitation Free,
Connie Case,
Judy Mowatt,
The Dave Clark Five,
Q and Not U,
Strawberry Alarm Clock,
Trumans Water,
Avey Tare & Kría Brekkan,
Marcia Griffiths,
Selector Dub Narcotic,
The Modern Lovers,
Kevin Saunderson, Kevin Saunderson, Kevin Saunderson, Kevin Saunderson.
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.