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 Lebanon and from Columbus.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 New York and Lyon.
I'm losing my edge to the art-school Halifax 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the synthesizer sounds with much patience.
I was there when Holger Czukay 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 Silicon Teens to the rap kids.
I played it at CBGB's.
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 Pulsallama. All the underground hits.
All Eric Dolphy tracks. I heard you have a vinyl of every Warren Ellis 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 '80s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your organ and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The United States of America,
Orchestral Manoeuvres in the Dark,
Sugar Minott,
Camberwell Now,
Malaria!,
Peter & Gordon,
Flash Fearless,
Vainqueur,
the Association,
T. Rex,
Blancmange,
Intrusion,
Little Man,
Livin' Joy,
Gil Scott-Heron & Brian Jackson,
Reuben Wilson,
La Düsseldorf,
Electric Prunes,
Carl Craig,
Donald Byrd,
Brass Construction,
Bauhaus,
Bad Manners,
Camouflage,
Piero Umiliani,
Pete Rock & C.L. Smooth,
The Peanut Butter Conspiracy,
Animal Collective,
Drive Like Jehu,
Electric Light Orchestra,
Sound Behaviour,
Jesper Dahlbäck,
Boogie Down Productions,
Blossom Toes,
Deadbeat,
Slick Rick,
The Smoke,
Thinking Fellers Union Local 282,
Heavy D & The Boyz,
Tommy Roe,
The Vogues,
Glambeats Corp.,
Röyhkä ja Rättö ja Lehtisalo,
James Chance & The Contortions,
Rosa Yemen,
Black Pus,
Be Bop Deluxe,
Zapp,
Erasure,
Ossler,
Lightning Bolt,
Icehouse,
The Velvet Underground,
the Normal,
Frankie Knuckles,
Roy Ayers,
The Seeds,
The Durutti Column,
Hot Snakes,
Joy Division, Joy Division, Joy Division, Joy Division.
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.