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 Lebanon and from Hong Kong.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1970.
I'm losing my edge.
To all the kids in Taipei and Stockholm.
I'm losing my edge to the art-school Portland 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 snare 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 Easy Going to the jazz 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 The Evens. All the underground hits.
All Black Flag tracks. I heard you have a vinyl of every Kenny Larkin record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The American Breed,
Sister Nancy,
Aaron Thompson,
Urselle,
Agent Orange,
Roxy Music,
Bill Near,
Eli Mardock,
Black Flag,
The Slits,
Robert Wyatt,
Drive Like Jehu,
Sarah Menescal,
The Motions,
Aural Exciters,
Teenage Jesus and the Jerks,
Siouxsie and the Banshees,
Todd Rundgren,
Bobbi Humphrey,
Whodini,
OOIOO,
L. Decosne,
The Neon Judgement,
Eurythmics,
Moby Grape,
The Knickerbockers,
Sound Behaviour,
Simply Red,
Eden Ahbez,
The Count Five,
Crispian St. Peters,
Lalo Schifrin,
Prince Buster,
The Mummies,
Terror Squad Feat. Camron,
A Certain Ratio,
Kango’s Stein Massive,
Kerrie Biddell,
Lucky Dragons,
The Standells,
Alton Ellis,
Inner City,
The Divine Comedy,
Delon & Dalcan,
Manfred Mann's Earth Band,
Y Pants,
Oppenheimer Analysis,
James White and The Blacks,
Procol Harum,
Bizarre Inc.,
Althea and Donna,
Roger Hodgson,
Absolute Body Control,
Tropical Tobacco,
Sad Lovers and Giants,
Lightning Bolt,
Blancmange,
Motorama,
Royal Trux,
Lyres,
D'Angelo,
Magazine,
Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft.
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.