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 Denmark and from Portland.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Calgary and Mexico City.
I'm losing my edge to the art-school Manila 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 808 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 The Slackers to the crunk 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 Rosa Yemen. All the underground hits.
All Deutsch Amerikanische Freundschaft tracks. I heard you have a vinyl of every Rekid 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 '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Easy Going,
AZ,
Lou Reed & Metallica,
Funky Four + One,
Steve Hackett,
Lyres,
Warsaw,
Lafayette Afro Rock Band,
Hashim,
Electric Light Orchestra,
Visage,
Ralphi Rosario,
The Walker Brothers,
Peter Gordon & Love of Life Orchestra,
Swans,
Inner City,
Eurythmics,
Terry Callier,
The Electric Prunes,
Infiniti,
The Trojans,
Amon Düül II,
Bush Tetras,
The Dead C,
Gerry Rafferty,
Public Image Ltd.,
48th St. Collective,
These Immortal Souls,
The Stooges,
Soulsonic Force,
Theoretical Girls,
New Order,
Gary Puckett & The Union Gap,
Gang Green,
Anthony Braxton,
X-Ray Spex,
Minor Threat,
Soft Machine,
K-Klass,
The Detroit Cobras,
Tubeway Army,
T. Rex,
Jeff Mills,
Avey Tare & Kría Brekkan,
Camberwell Now,
Bob Dylan,
Gil Scott Heron,
Pere Ubu,
The Star Department,
Fluxion,
DeepChord presents Echospace,
Grandmaster Flash and the Furious Five,
ABBA,
Eddi Front,
Tropical Tobacco,
Rod Modell,
Colin Newman,
Lakeside,
Kool Moe Dee,
Fad Gadget, Fad Gadget, Fad Gadget, Fad Gadget.
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.