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 Singapore and from Sao Paulo.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Lyon and Manchester.
I'm losing my edge to the art-school Lagos 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 arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Parry Music to the grime kids.
I played it at the Roxy.
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 Lakeside. All the underground hits.
All Strawberry Alarm Clock tracks. I heard you have a vinyl of every The Count Five record on German import.
I heard that you have a white label of every seminal disco 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 linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Ponytail record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharaoh Sanders and the Fire Engines,
L. Decosne,
Girls At Our Best!,
The Moleskins,
Model 500,
Quantec,
Hashim,
Grandmaster Flash,
Crooked Eye,
X-101,
Ronnie Foster,
Amazonics,
Freddie Wadling,
Ossler,
The Litter,
U.S. Maple,
Jacques Brel,
Agitation Free,
The Doobie Brothers,
Lyres,
Sunsets and Hearts,
Silicon Teens,
Pole,
Lee Hazlewood,
Schoolly D,
Neu!,
Inner City,
Outsiders,
Bob Dylan,
Scientists,
The J.B.'s,
Dr. Dre and Snoop Doggy Dog,
Rowland S Howard / Lydia Lunch,
The Mummies,
Visage,
Tom Boy,
Lakeside,
Jesper Dahlbäck,
Todd Rundgren,
The Slits,
Rakim,
The Men They Couldn't Hang,
James Chance & The Contortions,
Basic Channel,
Chrome,
Deutsch Amerikanische Freundschaft,
Second Layer,
ABC,
Duran Duran,
Saccharine Trust,
Slave,
Von Mondo,
Justin Hinds & The Dominoes,
Davy DMX,
48th St. Collective,
Barclay James Harvest,
Rufus Thomas,
Radiohead,
Bobby Womack,
T. Rex,
Yazoo, Yazoo, Yazoo, Yazoo.
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.