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 New Zealand and from Hong Kong.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Manchester and New York.
I'm losing my edge to the art-school Tehran 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the harpsichord sounds with much patience.
I was there when Tom Verlaine 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 Anthony Braxton to the rap kids.
I played it at the Hacienda.
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 ABBA. All the underground hits.
All Rhythim Is Rhythim tracks. I heard you have a vinyl of every Crash Course in Science record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a cv313 record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Red Lorry Yellow Lorry,
The Gun Club,
Sound Behaviour,
Pierre Henry,
James Chance & The Contortions,
Pantytec,
the Normal,
The Men They Couldn't Hang,
Barrington Levy,
Jacob Miller,
Negative Approach,
Black Flag,
Pylon,
Davy DMX,
Peter and Kerry,
A Certain Ratio,
Zero Boys,
Terry Callier,
FM Einheit,
Lalann,
Bush Tetras,
Dawn Penn,
Aswad,
Easy Going,
Drive Like Jehu,
Infiniti,
David Axelrod,
B.T. Express,
Barry Ungar,
The Cramps,
Yellowson,
Lou Christie,
Joensuu 1685,
Silicon Teens,
Glambeats Corp.,
LL Cool J,
Agent Orange,
Slave,
Flamin' Groovies,
The Move,
Grandmaster Flash,
Rekid,
Jeff Lynne,
The Dirtbombs,
Ludus,
MC5,
Section 25,
X-101,
Curtis Mayfield,
Notorious Big And Bone Thugs,
Theoretical Girls,
The Stooges,
Louis and Bebe Barron,
Deakin,
Boogie Down Productions,
The Saints,
Drexciya,
Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu.
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.