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 Portugal and from Woodstock.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Madrid and Mumbai.
I'm losing my edge to the art-school Lyon 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the theremin sounds with much patience.
I was there when Holger Czukay 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 Excepter to the electroclash kids.
I played it at the Hacienda.
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 Susan Cadogan. All the underground hits.
All Mars tracks. I heard you have a vinyl of every Q and Not U record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a London Community Gospel Choir record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cowsills,
Morten Harket,
Icehouse,
Clear Light,
Glenn Branca,
De La Soul & Jungle Brothers,
Simply Red,
the Bar-Kays,
R.M.O.,
D'Angelo,
James Chance & The Contortions,
Bootsy Collins,
Letta Mbulu,
Das Ding,
The Barracudas,
Rod Modell,
Quantec,
The Selecter,
Sonny Sharrock,
Magma,
Amon Düül II,
Brass Construction,
Avey Tare & Kría Brekkan,
Average White Band,
Sun Ra,
Y Pants,
Grauzone,
Easy Going,
Charles Mingus,
MDC,
cv313,
Jesper Dahlbäck,
Captain Beefheart & His Magic Band,
Rhythim Is Rhythim,
Los Fastidios,
EPMD,
Vainqueur,
Nils Olav,
Cheater Slicks,
Animal Collective,
Bobby Sherman,
Alphaville,
Orchestral Manoeuvres in the Dark,
Yellowson,
Louis and Bebe Barron,
Gabor Szabo,
Oppenheimer Analysis,
the Human League,
Teenage Jesus and the Jerks,
Lebanon Hanover,
The Cosmic Jokers,
Pylon,
the Soft Cell,
Grandmaster Flash,
The Skatalites,
Lower 48,
In Retrospect,
Robert Hood,
Ituana,
Max Romeo,
Kerrie Biddell,
Hashim,
The Toasters, The Toasters, The Toasters, The Toasters.
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.