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 Sweden and from Winnipeg.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Delhi and Milan.
I'm losing my edge to the art-school Milan 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 güiro sounds with much patience.
I was there when Michael McDonald 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 Can to the grunge 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 Radio Birdman. All the underground hits.
All Lindisfarne tracks. I heard you have a vinyl of every Peter & Gordon record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young & Crazy Horse record.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Angry Samoans,
Public Enemy,
Matthew Halsall,
Intrusion,
Bill Near,
Frankie Knuckles,
Stereo Dub,
Lou Reed,
The Detroit Cobras,
The Fortunes,
Ituana,
Spandau Ballet,
Eyeless In Gaza,
Ultra Naté,
The Techniques,
Loose Ends,
The Pretty Things,
Bob Dylan,
Popol Vuh,
Johnny Osbourne,
Ornette Coleman,
The Durutti Column,
Deutsch Amerikanische Freundschaft,
Al Stewart,
Goldenarms,
Eddi Front,
Kool G Rap & DJ Polo,
Bluetip,
Quando Quango,
Joensuu 1685,
The Moleskins,
Ohio Players,
Sonny Sharrock,
T.S.O.L.,
X-102,
Lee Hazlewood,
Quadrant,
Fad Gadget,
AZ,
Gil Scott-Heron & Brian Jackson,
Hardrive,
The Moody Blues,
Bill Wells,
Monolake,
Sexual Harrassment,
Howard Jones,
Gastr Del Sol,
June of 44,
Kool Moe Dee,
Lungfish,
Camron Feat. Memphis Bleek And Beenie Seigel,
Amon Düül II,
Röyhkä ja Rättö ja Lehtisalo,
Glenn Branca,
Masters at Work,
The Count Five,
Lou Christie,
Tomorrow,
Henry Cow,
The Residents,
Dave Gahan,
Sun Ra,
Siglo XX,
Mr. Review, Mr. Review, Mr. Review, Mr. Review.
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.