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 China and from Philadelphia.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1970.
I'm losing my edge.
To all the kids in Cairo and Copenhagen.
I'm losing my edge to the art-school Houston 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 sitar 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 Cymande to the grunge kids.
I played it at the Astoria.
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 Spandau Ballet. All the underground hits.
All Joe Finger tracks. I heard you have a vinyl of every The Alarm Clocks record on German import.
I heard that you have a white label of every seminal dance 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 an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron 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?
L. Decosne,
Gil Scott Heron,
The Monks,
Be Bop Deluxe,
The Move,
The Dead C,
Idris Muhammad,
Alton Ellis,
Banda Bassotti,
Organ,
The Evens,
Severed Heads,
Rekid,
Steve Hackett,
Outsiders,
Patti Smith,
Richard Hell and the Voidoids,
Crispy Ambulance,
Big Daddy Kane,
Grandmaster Flash and the Furious Five,
H. Thieme,
A Certain Ratio,
Terror Squad Feat. Camron,
Avey Tare,
Jimmy McGriff,
Index,
a-ha,
Brand Nubian,
Echospace,
Danielle Patucci,
Teenage Jesus and the Jerks,
Ralphi Rosario,
Matthew Bourne,
Sandy B,
Qualms,
Ice-T,
Anthony Braxton,
James White and The Blacks,
Spandau Ballet,
The Standells,
Wasted Youth,
Cabaret Voltaire,
Robert Wyatt,
Television,
U.S. Maple,
Henry Cow,
Tim Buckley,
Joy Division,
the Normal,
Suburban Knight,
The Fall,
The Jesus and Mary Chain,
The J.B.'s,
Bauhaus,
ABC,
The Cosmic Jokers,
Boogie Down Productions,
Bad Manners,
Second Layer,
The Pop Group,
Bobby Womack,
Sight & Sound, Sight & Sound, Sight & Sound, Sight & Sound.
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.