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 Zambia and from Copenhagen.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1969 to 1973.
I'm losing my edge.
To all the kids in Cairo and Philadelphia.
I'm losing my edge to the art-school Winnipeg 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 synthesizer sounds with much patience.
I was there when David Bowie 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 Aural Exciters to the rock kids.
I played it at the 40 Watt.
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 Sticky Fingaz feat. Raekwon. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Vainqueur record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Victims record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
La Düsseldorf,
Slave,
Newcleus,
Brick,
Dr. Dre and Snoop Doggy Dog,
Donald Byrd,
Alice Coltrane,
The Cowsills,
Q65,
Blake Baxter,
Skriet,
Black Pus,
Lungfish,
Strawberry Alarm Clock,
Yazoo,
Warren Ellis,
Television Personalities,
Archie Shepp,
Negative Approach,
Joe Finger,
Brothers Johnson,
PIL,
Rosa Yemen,
Hardrive,
Charles Mingus,
Guru Guru,
Gang of Four,
Chrome,
Lebanon Hanover,
Fad Gadget,
Lou Reed & John Cale,
Second Layer,
James White and The Blacks,
The Velvet Underground,
Camouflage,
Minnie Riperton,
Dead Boys,
Babytalk,
Gil Scott-Heron and Jamie xx,
Robert Wyatt,
Gregory Isaacs,
Gerry Rafferty,
Terrestrial Tones,
Main Source,
Basic Channel,
Electric Light Orchestra,
H. Thieme,
Delta 5,
Eurythmics,
Public Image Ltd.,
Jeff Lynne,
Fort Wilson Riot,
Adolescents,
Arcadia,
The American Breed,
Pantaleimon,
Gian Franco Pienzio,
Accadde A,
Tom Boy,
Amon Düül II,
Sister Nancy,
Radiopuhelimet,
Harpers Bizarre,
Nick Cave & The Bad Seeds, Nick Cave & The Bad Seeds, Nick Cave & The Bad Seeds, Nick Cave & The Bad Seeds.
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.