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 Montenegro and from Madrid.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Cairo and Manchester.
I'm losing my edge to the art-school Johannesburg 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the arpeggiator sounds with much patience.
I was there when Lou Reed 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 Pylon to the dance 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 Harmonia. All the underground hits.
All Curtis Mayfield tracks. I heard you have a vinyl of every Juan Atkins 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 '70s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The J.B.'s record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
KRS-One,
Major Organ And The Adding Machine,
Don Cherry,
Dead Boys,
Eurythmics,
Quando Quango,
Marshall Jefferson,
Tres Demented,
Procol Harum,
Model 500,
Terry Callier,
The Peanut Butter Conspiracy,
The Slits,
The Birthday Party,
Echo & the Bunnymen,
Jimmy McGriff,
Half Japanese,
Electric Prunes,
The Moody Blues,
Jesper Dahlback,
Judy Mowatt,
Soft Cell,
kango's stein massive,
Pagans,
Nirvana,
Lonnie Liston Smith,
Goldenarms,
Bobby Sherman,
Peter & Gordon,
Hardrive,
Grandmaster Flash and the Furious Five,
Bizarre Inc.,
Swell Maps,
Charles Mingus,
Joe Finger,
Justin Hinds & The Dominoes,
Sun City Girls,
James Chance & The Contortions,
Aaron Thompson,
Jeff Mills,
Gerry Rafferty,
Avey Tare's Slasher Flicks,
Amon Düül,
Magma,
Josef K,
Orchestral Manoeuvres in the Dark,
Sound Behaviour,
Audionom,
Television,
The Sonics,
The Buckinghams,
Crispian St. Peters,
Stetsasonic,
Infiniti,
Pulsallama,
Trumans Water,
Youth Brigade,
Magazine,
Steve Hackett,
Q65, Q65, Q65, Q65.
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.