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 United States and from Jakarta.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Lille and Taipei.
I'm losing my edge to the art-school Mexico City 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 harpsichord 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 Yazoo to the jazz 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 Agitation Free. All the underground hits.
All Popol Vuh tracks. I heard you have a vinyl of every Cabaret Voltaire 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 '60s cut and another box set from the '90s.
I hear you're buying a linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Sly & The Family Stone record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The American Breed,
Radio Birdman,
Desert Stars,
Rapeman,
Gil Scott-Heron & Brian Jackson,
Scratch Acid,
The Blackbyrds,
Jesper Dahlbäck,
Manfred Mann's Earth Band,
Masters at Work,
Janne Schatter,
The Star Department,
Surgeon,
Skaos,
Neu!,
Mad Mike,
Arab on Radar,
The Offenders,
Q and Not U,
Accadde A,
Lee Hazlewood,
Wally Richardson,
Tom Boy,
PIL,
The New Christs,
Minutemen,
Television,
Major Organ And The Adding Machine,
The Buckinghams,
David McCallum,
Scan 7,
Glambeats Corp.,
Chrome,
John Lydon,
Y Pants,
Zapp,
Johnny Clarke,
Panda Bear,
The Beau Brummels,
Hasil Adkins,
The Zeros,
Soul Sonic Force,
Henry Cow,
Khruangbin,
Pantytec,
The Dave Clark Five,
Tommy Roe,
Tears for Fears,
Siouxsie and the Banshees,
8 Eyed Spy,
Sly & The Family Stone,
Albert Ayler,
Peter Gordon & Love of Life Orchestra,
Marmalade,
Lyres,
the Swans,
The Smiths,
Grandmaster Flash and the Furious Five,
Shuggie Otis,
the Bar-Kays,
Lou Christie,
Drexciya,
Sexual Harrassment, Sexual Harrassment, Sexual Harrassment, Sexual Harrassment.
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.