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 Malawi and from Bremen.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Bologna and Seoul.
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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the mellotron 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 Public Enemy to the electroclash 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 Bluetip. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Qualms 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 '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smoke,
Chrome,
Niagra,
Crispian St. Peters,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Robert Wyatt,
Panda Bear,
Bluetip,
Urselle,
Rowland S Howard / Lydia Lunch,
Mark Hollis,
Tres Demented,
Cluster,
Jeru the Damaja,
ABBA,
Alphaville,
The Divine Comedy,
Donald Byrd,
Grey Daturas,
Qualms,
Kenny Larkin,
Gil Scott Heron,
Q65,
Freddie Wadling,
Howard Jones,
Lungfish,
Boredoms,
Lizzy Mercier Descloux,
Skaos,
Black Moon,
The Offenders,
The J.B.'s,
Lalo Schifrin,
Deakin,
The Cowsills,
The United States of America,
The Doobie Brothers,
Monks,
Lou Reed & Metallica,
Nick Fraelich,
Eric B and Rakim,
Scratch Acid,
The Mighty Diamonds,
The Birthday Party,
Radiopuhelimet,
David Bowie,
Jerry Gold Smith,
Eve St. Jones,
U.S. Maple,
Soft Cell,
The Standells,
Godley & Creme,
Young Marble Giants,
Liaisons Dangereuses,
Gong,
Captain Beefheart & His Magic Band,
Buzzcocks,
Gian Franco Pienzio,
Terry Callier,
Slave,
Glambeats Corp.,
Pharoah Sanders,
Bronski Beat, Bronski Beat, Bronski Beat, Bronski Beat.
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.