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 Korea South and from London.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Bremen and Delhi.
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 1971 at the first Selda practice in a loft in Istanbul.
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 Yaz 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 Rufus Thomas. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Dave Gahan record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Echo & the Bunnymen,
Sarah Menescal,
the Bar-Kays,
Qualms,
Au Pairs,
cv313,
Model 500,
Theoretical Girls,
Japan,
Niagra,
Lee Hazlewood,
Motorama,
A Flock of Seagulls,
The Victims,
Alton Ellis,
Sight & Sound,
The Seeds,
Pere Ubu,
Darondo,
Jerry Gold Smith,
Wally Richardson,
Gastr Del Sol,
Andrew Ashong & Theo Parrish,
Selector Dub Narcotic,
Lower 48,
Public Enemy,
48th St. Collective,
Banda Bassotti,
Gang Starr,
Glenn Branca,
Make Up,
Crispian St. Peters,
Minny Pops,
Albert Ayler,
Neil Young,
Half Japanese,
Reagan Youth,
Blancmange,
Nick Fraelich,
Malaria!,
Be Bop Deluxe,
Mo-Dettes,
Talk Talk,
Sad Lovers and Giants,
Deadbeat,
The Last Poets,
Anakelly,
The Golliwogs,
David McCallum,
Stockholm Monsters,
Minnie Riperton,
The Doobie Brothers,
Crime,
The Shadows of Knight,
The Detroit Cobras,
Reuben Wilson,
F. McDonald,
Kauko Röyhkä ja Narttu,
The Knickerbockers,
Graham Central Station,
Rekid,
Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot.
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.