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 Mongolia and from Calgary.
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 1970.
I'm losing my edge.
To all the kids in Halifax and Milan.
I'm losing my edge to the art-school Lagos 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 arpeggiator 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 The Music Machine to the punk kids.
I played it at the Troubador.
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 Funkadelic. All the underground hits.
All Camouflage tracks. I heard you have a vinyl of every Dual Sessions record on German import.
I heard that you have a white label of every seminal grime 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 sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Popol Vuh record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
Model 500,
Oppenheimer Analysis,
The Moody Blues,
Black Moon,
Arab on Radar,
Index,
Deepchord,
MC5,
Danielle Patucci,
Pole,
It's A Beautiful Day,
Khruangbin,
Dorothy Ashby,
Lee Hazlewood,
Flipper,
Deadbeat,
The Human League,
Qualms,
Barrington Levy,
Circle Jerks,
The Mighty Diamonds,
Boz Scaggs,
The Monks,
Rekid,
Bobby Sherman,
Silicon Teens,
Yusef Lateef,
Unwound,
10cc,
Lou Reed & John Cale,
Patti Smith,
Porter Ricks,
The Jesus and Mary Chain,
Shoche,
The Grass Roots,
Bootsy Collins,
The Evens,
Bob Dylan,
Brick,
Andrew Ashong & Theo Parrish,
The Busters,
Rotary Connection,
Half Japanese,
Sly & The Family Stone,
World's Most,
The Vogues,
The Motions,
Harry Pussy,
Cecil Taylor,
Faraquet,
Oblivians,
Pussy Galore,
The Slackers,
the Slits,
Graham Central Station,
Spandau Ballet,
Tears for Fears,
Public Image Ltd.,
48th St. Collective,
Lightning Bolt,
This Heat,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.