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 Czech Republic and from Tehran.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 Milan and Taipei.
I'm losing my edge to the art-school Spokane 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 spring reverb 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 Joey Negro to the techno kids.
I played it at the Roxy.
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 Flamin' Groovies. All the underground hits.
All kango's stein massive tracks. I heard you have a vinyl of every Spoonie Gee record on German import.
I heard that you have a white label of every seminal techno 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 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 In Retrospect record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vaughan Mason & Crew,
Howard Jones,
Pierre Henry,
Absolute Body Control,
Delta 5,
Gabor Szabo,
Gian Franco Pienzio,
Michelle Simonal,
Selector Dub Narcotic,
John Lydon,
Public Image Ltd.,
Kaleidoscope,
Jeff Lynne,
The Remains,
Aaron Thompson,
Strawberry Alarm Clock,
Gang of Four,
Con Funk Shun,
Isaac Hayes,
Masters at Work,
Panda Bear,
Sun Ra Arkestra,
Malaria!,
Suburban Knight,
Matthew Bourne,
Marmalade,
The Fire Engines,
Oneida,
Cabaret Voltaire,
Peter and Kerry,
Second Layer,
Sixth Finger,
Teenage Jesus and the Jerks,
Oppenheimer Analysis,
Deepchord,
Gastr Del Sol,
Crime,
Cymande,
Colin Newman,
Deutsch Amerikanische Freundschaft,
Lindisfarne,
Larry & the Blue Notes,
Theoretical Girls,
Cameo,
The Victims,
Liaisons Dangereuses,
T.S.O.L.,
The Gap Band,
Swans,
Eric B and Rakim,
Rakim,
Monolake,
Unrelated Segments,
Jerry's Kids,
Severed Heads,
Sight & Sound,
JFA,
Q65,
Black Flag,
David McCallum,
Wire,
Unwound,
Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo.
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.