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 Japan and from Seoul.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Lille and Stockholm.
I'm losing my edge to the art-school Seoul 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 oboe 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 Angry Samoans to the techno kids.
I played it at CBGB's.
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 Barrington Levy. All the underground hits.
All Japan tracks. I heard you have a vinyl of every Wolf Eyes record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Smiths record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harry Pussy,
Tubeway Army,
David McCallum,
Bang on a Can All-Stars,
Jesper Dahlback,
Faust,
Lebanon Hanover,
The Alarm Clocks,
Larry & the Blue Notes,
The Slackers,
Toni Rubio,
T.S.O.L.,
Mandrill,
Massinfluence,
John Coltrane,
Marc Romboy vs. Booka Shade,
Lakeside,
Cal Tjader,
Jacob Miller,
Groovy Waters,
Sound Behaviour,
Blancmange,
Pharoah Sanders,
The Selecter,
Charles Mingus,
Accadde A,
Spoonie Gee,
Rites of Spring,
Fifty Foot Hose,
Cybotron,
Orchestral Manoeuvres in the Dark,
The Smiths,
Hasil Adkins,
Carl Craig,
Simply Red,
The Dead C,
Aswad,
Peter and Kerry,
Traffic Nightmare,
Little Man,
Erasure,
Tommy Roe,
Radiopuhelimet,
De La Soul & Jungle Brothers,
The Toasters,
Roxy Music,
Strawberry Alarm Clock,
Fela Kuti,
Rapeman,
Deakin,
David Axelrod,
Yaz,
Sonny Sharrock,
The Blackbyrds,
Graham Central Station,
Pete Rock & C.L. Smooth,
Lungfish,
Erykah Badu,
X-102,
Lou Reed & Metallica,
Sun Ra Arkestra,
Minny Pops, Minny Pops, Minny Pops, Minny Pops.
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.