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 Uganda and from Copenhagen.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Manchester and Sao Paulo.
I'm losing my edge to the art-school Bremen 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the theremin sounds with much patience.
I was there when Robert Palmer 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 Joensuu 1685 to the techno kids.
I played it at Cafe Wha.
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 Soulsonic Force. All the underground hits.
All Terry Callier tracks. I heard you have a vinyl of every The Names record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
Bush Tetras,
Michelle Simonal,
June Days,
The Blackbyrds,
The Black Dice,
David McCallum,
Electric Light Orchestra,
The Modern Lovers,
Silicon Teens,
K-Klass,
The Skatalites,
Gerry Rafferty,
T.S.O.L.,
Pole,
Lucky Dragons,
Black Pus,
Faust,
Rites of Spring,
The Fugs,
U.S. Maple,
Babytalk,
Marmalade,
The Monochrome Set,
Rhythm & Sound,
Joe Finger,
Jesper Dahlback,
the Germs,
Vladislav Delay,
The Busters,
China Crisis,
Scrapy,
Anakelly,
Young Marble Giants,
Radiopuhelimet,
Al Stewart,
Oppenheimer Analysis,
Adolescents,
The Happenings,
Rakim,
Echo & the Bunnymen,
LL Cool J,
Boogie Down Productions,
Gastr Del Sol,
Panda Bear,
Faraquet,
Simply Red,
Black Moon,
Chris & Cosey,
Funky Four + One,
The Slits,
Aloha Tigers,
Monolake,
Lindisfarne,
Average White Band,
Gabor Szabo,
Amazonics,
Nick Fraelich,
Roy Ayers,
Minutemen,
Outsiders,
Fluxion,
Gang Green, Gang Green, Gang Green, Gang Green.
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.