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 Burkina and from Lyon.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Manchester and Stockholm.
I'm losing my edge to the art-school Portland 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 Funky Four + One to the grunge kids.
I played it at Trash.
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 Underground Resistance. All the underground hits.
All Hardrive tracks. I heard you have a vinyl of every Deakin record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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 J.B.'s,
Agent Orange,
Marc Almond,
Electric Light Orchestra,
The Standells,
Notorious Big And Bone Thugs,
Althea and Donna,
Deutsch Amerikanische Freundschaft,
Mars,
Sarah Menescal,
Pet Shop Boys,
Delon & Dalcan,
Flipper,
Sly & The Family Stone,
Ultramagnetic MC's,
Eve St. Jones,
Selector Dub Narcotic,
Captain Beefheart & His Magic Band,
Scott Walker,
Boz Scaggs,
June of 44,
Organ,
Unwound,
Camouflage,
Scientists,
The Flesh Eaters,
Glambeats Corp.,
Steve Hackett,
Pulsallama,
Chris & Cosey,
Johnny Osbourne,
Dorothy Ashby,
Lou Reed & John Cale,
Hasil Adkins,
Kool G Rap & DJ Polo,
Swell Maps,
Sad Lovers and Giants,
X-101,
Bluetip,
Tears for Fears,
Fat Boys,
Jandek,
Subhumans,
T. Rex,
Glenn Branca,
New Order,
The Pop Group,
Cluster,
Spandau Ballet,
New Age Steppers,
Cheater Slicks,
Banda Bassotti,
The Beau Brummels,
CMW,
Underground Resistance,
The Grass Roots,
Bobbi Humphrey,
Matthew Halsall,
Index,
The Monochrome Set,
The Stooges,
Arcadia,
The Blackbyrds, The Blackbyrds, The Blackbyrds, The Blackbyrds.
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.