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 Laos and from Tokyo.
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 1976.
I'm losing my edge.
To all the kids in Madrid and Bremen.
I'm losing my edge to the art-school Lagos 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 marimba sounds with much patience.
I was there when Nile Rodgers 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 Marc Almond to the crunk kids.
I played it at the Roxy.
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 Duran Duran. All the underground hits.
All Skaos tracks. I heard you have a vinyl of every The Saints 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 '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Derrick Morgan record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Clear Light,
Index,
Sad Lovers and Giants,
H. Thieme,
Girls At Our Best!,
Janne Schatter,
Yazoo,
Dual Sessions,
Ituana,
Los Fastidios,
Steve Hackett,
the Swans,
Godley & Creme,
The Slackers,
Eli Mardock,
Lou Reed,
Main Source,
the Sonics,
Subhumans,
Eden Ahbez,
The Cosmic Jokers,
Ken Boothe,
Charles Mingus,
Robert Görl,
Henry Cow,
The Men They Couldn't Hang,
Stockholm Monsters,
Sister Nancy,
JFA,
Aloha Tigers,
Hardrive,
In Retrospect,
The Seeds,
The Searchers,
The Modern Lovers,
48th St. Collective,
Man Parrish,
Stereo Dub,
Aural Exciters,
David Axelrod,
Half Japanese,
Minor Threat,
The Electric Prunes,
Rapeman,
The Names,
The Invisible,
Danielle Patucci,
The Vogues,
Warsaw,
Liliput,
Theoretical Girls,
Byron Stingily,
Easy Going,
Popol Vuh,
Animal Collective,
The Red Krayola,
Lee Hazlewood,
Johnny Clarke,
Dead Boys,
The Move,
Barclay James Harvest, Barclay James Harvest, Barclay James Harvest, Barclay James Harvest.
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.