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 Yemen and from Mexico City.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Beijing and Edmonton.
I'm losing my edge to the art-school Bremen 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 chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Ralphi Rosario to the disco 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 Ajijia Myrayebe. All the underground hits.
All Bad Manners tracks. I heard you have a vinyl of every Wighnomy Brothers & Robag Wruhme 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 chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Aural Exciters record.
I hear that you and your band have sold your güiro and bought a snare.
I hear that you and your band have sold your snare and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
Alison Limerick,
Notorious Big And Bone Thugs,
The Mighty Diamonds,
Aaron Thompson,
Althea and Donna,
Essential Logic,
Jimmy McGriff,
The West Coast Pop Art Experimental Band,
Red Lorry Yellow Lorry,
Arab on Radar,
Rakim,
Marvin Gaye,
The Star Department,
Popol Vuh,
Dr. Dre and Snoop Doggy Dog,
Deakin,
Grey Daturas,
X-101,
La Düsseldorf,
Newcleus,
Kerrie Biddell,
The J.B.'s,
Cymande,
John Cale,
Brass Construction,
Jandek,
H. Thieme,
Marc Almond,
Maleditus Sound,
Joyce Sims,
Donald Byrd,
Sunsets and Hearts,
The Peanut Butter Conspiracy,
Ice-T,
Idris Muhammad,
Flipper,
The Blackbyrds,
Carl Craig,
Ronnie Foster,
Archie Shepp,
Pylon,
In Retrospect,
Erykah Badu,
Liliput,
Juan Atkins,
Goldenarms,
Mo-Dettes,
Matthew Halsall,
48th St. Collective,
Ohio Players,
Soul Sonic Force,
Von Mondo,
The Raincoats,
the Human League,
Junior Murvin,
Anakelly,
Joy Division,
David Axelrod,
Peter and Kerry,
Albert Ayler,
Darondo,
Deadbeat, Deadbeat, Deadbeat, Deadbeat.
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.