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 Cuba and from Beijing.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Calgary and Milan.
I'm losing my edge to the art-school Bologna 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 1968 at the first Can practice in a loft in Cologne.
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 The Shadows of Knight to the crunk kids.
I played it at Trash.
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 Adolescents. All the underground hits.
All Grandmaster Flash tracks. I heard you have a vinyl of every Boz Scaggs record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Five Americans record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Junior Murvin,
Grandmaster Flash and the Furious Five,
Ludus,
Nico,
Grandmaster Flash,
Tears for Fears,
Bizarre Inc.,
Lou Reed,
Mars,
Wolf Eyes,
The Buckinghams,
Crooked Eye,
Minny Pops,
Mark Hollis,
Kerrie Biddell,
Joensuu 1685,
Harpers Bizarre,
Rod Modell,
Moebius,
Tropical Tobacco,
ABBA,
Pole,
Stetsasonic,
DJ Style,
Grey Daturas,
E-Dancer,
Nation of Ulysses,
Donald Byrd,
Magazine,
Severed Heads,
Curtis Mayfield,
Can,
Jacob Miller,
Kango’s Stein Massive,
Alton Ellis,
Ralphi Rosario,
The Last Poets,
Barrington Levy,
Parry Music,
Fear,
Ornette Coleman,
Eden Ahbez,
Soul Sonic Force,
Trumans Water,
The Remains,
Selector Dub Narcotic,
Clear Light,
June of 44,
Darondo,
Joey Negro,
Oneida,
Scratch Acid,
The Searchers,
Matthew Bourne,
Art Ensemble Of Chicago,
David McCallum,
Orchestral Manoeuvres in the Dark,
Simply Red,
Dorothy Ashby,
Bill Wells,
LL Cool J,
In Retrospect,
Fluxion, Fluxion, Fluxion, Fluxion.
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.