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 Greece and from Sao Paulo.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Beijing and Stockholm.
I'm losing my edge to the art-school Spokane 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 snare sounds with much patience.
I was there when Michael McDonald 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 Jacques Brel to the rap 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 Mark Hollis. All the underground hits.
All Minnie Riperton tracks. I heard you have a vinyl of every Kool G Rap & DJ Polo 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 '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quantec,
The Five Americans,
kango's stein massive,
Boz Scaggs,
The Electric Prunes,
The Durutti Column,
E-Dancer,
Scott Walker + Sunn O))),
Gong,
Thinking Fellers Union Local 282,
Porter Ricks,
Harry Pussy,
Jeru the Damaja,
The Seeds,
Ponytail,
Sun Ra,
Janne Schatter,
The Mighty Diamonds,
Roxette,
Alton Ellis,
Nation of Ulysses,
Interpol,
Bobby Sherman,
Donny Hathaway,
T. Rex,
Moby Grape,
Lou Reed & Metallica,
Freddie Wadling,
Make Up,
Harpers Bizarre,
Eric B and Rakim,
Ornette Coleman,
Sugar Minott,
Bad Manners,
Severed Heads,
Sarah Menescal,
Loose Ends,
Frankie Knuckles,
The Leaves,
Bronski Beat,
Fugazi,
Delon & Dalcan,
B.T. Express,
Wasted Youth,
The Fortunes,
Kerri Chandler,
Wally Richardson,
Dr. Dre and Snoop Doggy Dog,
Davy DMX,
Surgeon,
Dark Day,
Joy Division,
Dave Gahan,
Junior Murvin,
The Cosmic Jokers,
the Association,
Visage,
48th St. Collective,
Anthony Braxton,
Fat Boys,
Kango’s Stein Massive,
Robert Wyatt,
Lafayette Afro Rock Band, Lafayette Afro Rock Band, Lafayette Afro Rock Band, Lafayette Afro Rock Band.
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.