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 Czech Republic and from Milan.
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 1960 to 1970.
I'm losing my edge.
To all the kids in London and Copenhagen.
I'm losing my edge to the art-school Paris 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 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 Sly & The Family Stone to the electroclash kids.
I played it at the 40 Watt.
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 Warren Ellis. All the underground hits.
All The Index tracks. I heard you have a vinyl of every The Monks record on German import.
I heard that you have a white label of every seminal punk 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 güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Peter and Kerry record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bizarre Inc.,
James Chance & The Contortions,
EPMD,
Second Layer,
Gregory Isaacs,
Camberwell Now,
John Cale,
The Peanut Butter Conspiracy,
Ten City,
Guru Guru,
Kool G Rap & DJ Polo,
Minor Threat,
Technova,
Basic Channel,
Gian Franco Pienzio,
The Dirtbombs,
The New Christs,
Curtis Mayfield,
Magazine,
The Pop Group,
Terrestrial Tones,
Metal Thangz,
The Misunderstood,
Chris Corsano,
Little Man,
Rufus Thomas,
Camron Feat. Memphis Bleek And Beenie Seigel,
R.M.O.,
Silicon Teens,
AZ,
Grey Daturas,
Mission of Burma,
Peter and Kerry,
Dorothy Ashby,
Jesper Dahlback,
Urselle,
T.S.O.L.,
Theoretical Girls,
Negative Approach,
Procol Harum,
Underground Resistance,
Jimmy McGriff,
Gang Starr,
Echospace,
The Star Department,
Sun City Girls,
The Music Machine,
The Monks,
Rotary Connection,
In Retrospect,
Sandy B,
John Coltrane,
Popol Vuh,
Flamin' Groovies,
Massinfluence,
Sexual Harrassment,
Godley & Creme,
Index,
The Sisters of Mercy,
Big Daddy Kane,
The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain.
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.