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 Malta and from Columbus.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Philadelphia and Madrid.
I'm losing my edge to the art-school New York 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 oboe sounds with much patience.
I was there when Donald Fagen 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 D'Angelo to the disco kids.
I played it at Cafe Wha.
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 the Slits. All the underground hits.
All MDC tracks. I heard you have a vinyl of every Skaos record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Alice Coltrane record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cabaret Voltaire,
Marvin Gaye,
Selector Dub Narcotic,
The Trojans,
Charles Mingus,
the Human League,
Underground Resistance,
The Techniques,
Connie Case,
The Slits,
Black Pus,
Inner City,
The Seeds,
Bootsy's Rubber Band,
The Saints,
Harry Pussy,
The Last Poets,
Electric Prunes,
The Toasters,
Electric Light Orchestra,
The Shadows of Knight,
Toni Rubio,
Matthew Bourne,
Dark Day,
The Associates,
Deakin,
Siglo XX,
Schoolly D,
Suburban Knight,
Stetsasonic,
Avey Tare's Slasher Flicks,
Motorama,
DNA,
Half Japanese,
Goldenarms,
MDC,
Kayak,
Q65,
Wire,
Fat Boys,
Icehouse,
Country Joe & The Fish,
Lou Reed,
Donny Hathaway,
John Holt,
Graham Central Station,
Urselle,
Minor Threat,
Theoretical Girls,
Supertramp,
Lafayette Afro Rock Band,
Altered Images,
The Electric Prunes,
Dual Sessions,
8 Eyed Spy,
Thinking Fellers Union Local 282,
Ken Boothe,
June of 44,
Sun Ra,
The Index,
The Stooges,
Boz Scaggs,
Can, Can, Can, Can.
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.