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 Mozambique and from Seoul.
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 1977.
I'm losing my edge.
To all the kids in Seoul and Houston.
I'm losing my edge to the art-school New York 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 808 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 Von Mondo to the rock kids.
I played it at the Spitz.
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 Archie Shepp. All the underground hits.
All Tears for Fears tracks. I heard you have a vinyl of every Jeff Mills record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Rufus Thomas record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
Sticky Fingaz feat. Raekwon,
Sunsets and Hearts,
Eden Ahbez,
Porter Ricks,
Ultimate Spinach,
Bronski Beat,
Sister Nancy,
Spandau Ballet,
Lalo Schifrin,
Black Pus,
Roy Ayers Ubiquity,
ABC,
The Skatalites,
Joensuu 1685,
Selector Dub Narcotic,
The Cosmic Jokers,
Quadrant,
Average White Band,
Amazonics,
Procol Harum,
Warren Ellis,
Ken Boothe,
Bobbi Humphrey,
Drexciya,
Byron Stingily,
Whodini,
The Mighty Diamonds,
La Düsseldorf,
CMW,
The Zeros,
Echo & the Bunnymen,
Robert Görl,
Brass Construction,
The American Breed,
Young Marble Giants,
Jeff Lynne,
Masters at Work,
Angry Samoans,
Bobby Byrd,
Richard Hell and the Voidoids,
Rapeman,
Mo-Dettes,
Gian Franco Pienzio,
UT,
Deepchord,
London Community Gospel Choir,
Gichy Dan,
Nico,
Minnie Riperton,
Make Up,
X-101,
Amon Düül II,
Roxy Music,
Sugar Minott,
The Move,
Tubeway Army,
Mary Jane Girls,
Gang Gang Dance,
Tears for Fears,
Surgeon,
Tropical Tobacco,
Massinfluence, Massinfluence, Massinfluence, Massinfluence.
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.