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 Bolivia and from Columbus.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Paris and Winnipeg.
I'm losing my edge to the art-school Mexico City 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 güiro 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 Reuben Wilson to the jazz kids.
I played it at the 40 Watt.
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 Bush Tetras. All the underground hits.
All Procol Harum tracks. I heard you have a vinyl of every the Human League record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Warsaw record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Toni Rubio,
Louis and Bebe Barron,
Rowland S Howard / Lydia Lunch,
Jeff Lynne,
F. McDonald,
Guru Guru,
The Zeros,
The Golliwogs,
Ronan,
The Count Five,
Wire,
Eli Mardock,
Lou Reed & Metallica,
Deutsch Amerikanische Freundschaft,
Roy Ayers,
The Slackers,
Jacques Brel,
Faust,
Sun Ra Arkestra,
the Slits,
Bootsy Collins,
Tres Demented,
ABC,
The Gun Club,
The Techniques,
James Chance & The Contortions,
Alphaville,
Absolute Body Control,
The Mojo Men,
Robert Wyatt,
John Cale,
Rapeman,
Barclay James Harvest,
Skarface,
David Axelrod,
Flamin' Groovies,
The Jesus and Mary Chain,
Grauzone,
A Flock of Seagulls,
Avey Tare's Slasher Flicks,
Accadde A,
Iggy Pop,
Matthew Bourne,
Rhythim Is Rhythim,
Gang Gang Dance,
Marc Romboy vs. Booka Shade,
the Bar-Kays,
Pylon,
Lonnie Liston Smith,
The Divine Comedy,
Michelle Simonal,
Kayak,
Pere Ubu,
Bizarre Inc.,
Amon Düül II,
The Buckinghams,
Bobby Byrd,
Drive Like Jehu,
Bauhaus,
Erasure,
Althea and Donna,
The Smoke, The Smoke, The Smoke, The Smoke.
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.