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 Jamaica and from Beijing.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Bremen and Halifax.
I'm losing my edge to the art-school Philadelphia 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 theremin sounds with much patience.
I was there when David Bowie 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 Pierre Henry to the techno kids.
I played it at the Troubador.
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 Con Funk Shun. All the underground hits.
All the Germs tracks. I heard you have a vinyl of every Saccharine Trust record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Traffic Nightmare record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sly & The Family Stone,
Pierre Henry,
Half Japanese,
The American Breed,
Little Man,
Jesper Dahlback,
One Last Wish,
Oneida,
The Fall,
Eric Dolphy,
Rahsaan Roland Kirk,
Smog,
Monks,
Joy Division,
Procol Harum,
Bobby Sherman,
Larry & the Blue Notes,
Fear,
The Blues Magoos,
Aural Exciters,
Make Up,
Sarah Menescal,
The Techniques,
Bauhaus,
Severed Heads,
Lakeside,
Pete Rock & C.L. Smooth,
Rekid,
Kaleidoscope,
Fatback Band,
The Busters,
Camberwell Now,
Average White Band,
Vainqueur,
Boz Scaggs,
Young Marble Giants,
Vaughan Mason & Crew,
Qualms,
Groovy Waters,
Lalo Schifrin,
Byron Stingily,
Pussy Galore,
Electric Light Orchestra,
Lungfish,
Matthew Bourne,
Richard Hell and the Voidoids,
The Dave Clark Five,
Surgeon,
Unwound,
Nick Fraelich,
Harpers Bizarre,
the Slits,
PIL,
Alphaville,
Zero Boys,
ABBA,
Beasts of Bourbon,
Wally Richardson,
Barbara Tucker,
Tim Buckley,
A Flock of Seagulls,
Throbbing Gristle,
The Moody Blues, The Moody Blues, The Moody Blues, The Moody Blues.
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.