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 Burundi and from Milan.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Bremen and Delhi.
I'm losing my edge to the art-school New York 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 linndrum sounds with much patience.
I was there when Nile Rodgers 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 Sandy B to the techno kids.
I played it at the Crocodile.
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 Connie Case. All the underground hits.
All Joensuu 1685 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 electroclash 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 an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Flamin' Groovies record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious BIG live in Amsterdam,
Gichy Dan,
Eric Copeland,
Pylon,
Lou Reed & John Cale,
The Fall,
Graham Central Station,
Teenage Jesus and the Jerks,
The Selecter,
Yazoo,
These Immortal Souls,
Tom Boy,
Flipper,
Dual Sessions,
The Searchers,
Henry Cow,
Albert Ayler,
The United States of America,
Scan 7,
Black Pus,
Carl Craig,
Marshall Jefferson,
The Angels of Light,
Jacques Brel,
Accadde A,
The Alarm Clocks,
Michelle Simonal,
Loose Ends,
Make Up,
Arcadia,
Adolescents,
Oblivians,
Severed Heads,
Joyce Sims,
Nik Kershaw,
The Raincoats,
Ituana,
Hasil Adkins,
London Community Gospel Choir,
Masters at Work,
PIL,
the Slits,
the Germs,
Minutemen,
Bill Wells,
Erasure,
Angry Samoans,
Brick,
Art Ensemble Of Chicago,
Lightning Bolt,
Curtis Mayfield,
cv313,
Sugar Minott,
Glenn Branca,
Barry Ungar,
Eve St. Jones,
The Young Rascals,
Stereo Dub,
Depeche Mode,
James Chance & The Contortions,
Gary Puckett & The Union Gap,
Lalann,
a-ha, a-ha, a-ha, a-ha.
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.