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 Saudi Arabia and from Taipei.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Mexico City and Winnipeg.
I'm losing my edge to the art-school Toronto 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 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 Camron Feat. Memphis Bleek And Beenie Seigel to the punk 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 Lyres. All the underground hits.
All The Leaves tracks. I heard you have a vinyl of every The Knickerbockers record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a New Order record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warsaw,
Todd Terry,
The Mummies,
The Motions,
Angry Samoans,
The Gap Band,
Interpol,
The Sound,
Skriet,
Lou Reed,
Subhumans,
Justin Hinds & The Dominoes,
Blancmange,
Black Flag,
Major Organ And The Adding Machine,
Leonard Cohen,
Susan Cadogan,
The Toasters,
Das Ding,
Marmalade,
Maurizio,
Tim Buckley,
Excepter,
Gabor Szabo,
Jacques Brel,
Crooked Eye,
The Residents,
Absolute Body Control,
Goldenarms,
The Doobie Brothers,
Ponytail,
Au Pairs,
Cybotron,
Moebius,
Gil Scott-Heron and Jamie xx,
John Cale,
Bill Wells,
Bad Manners,
Tears for Fears,
The Names,
Robert Wyatt,
The Stooges,
Prince Buster,
DJ Sneak,
Colin Newman,
Sound Behaviour,
Hashim,
Black Sheep,
Young Marble Giants,
Underground Resistance,
Bluetip,
John Foxx,
Jeru the Damaja,
New York Dolls,
Outsiders,
Amon Düül,
The Victims,
Grauzone,
Jeff Mills,
Joensuu 1685,
China Crisis,
Ken Boothe,
Half Japanese,
Ohio Players, Ohio Players, Ohio Players, Ohio Players.
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.