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 Andorra and from Madrid.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Bologna and Lille.
I'm losing my edge to the art-school London 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 1973 at the first Television practice in a loft in New York.
I was working on the marimba 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 Delon & Dalcan to the grime 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 Jesper Dahlbäck. All the underground hits.
All Pantaleimon tracks. I heard you have a vinyl of every Lee Hazlewood record on German import.
I heard that you have a white label of every seminal dance 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 marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cosmic Jokers,
The Martian,
Joy Division,
Ossler,
Nik Kershaw,
Swell Maps,
Kool G Rap & DJ Polo,
Lizzy Mercier Descloux,
Kool Moe Dee,
Jacob Miller,
Harry Pussy,
Rapeman,
Eric Dolphy,
Ronan,
This Heat,
Fort Wilson Riot,
Lebanon Hanover,
The Residents,
Beasts of Bourbon,
Flipper,
Juan Atkins,
Traffic Nightmare,
Pussy Galore,
Lou Reed & John Cale,
Marmalade,
Hot Snakes,
Bootsy's Rubber Band,
Delta 5,
Susan Cadogan,
Young Marble Giants,
Groovy Waters,
June of 44,
Siouxsie and the Banshees,
Malaria!,
Bobby Sherman,
Roxette,
Jesper Dahlback,
Marine Girls,
Harpers Bizarre,
Y Pants,
Sällskapet,
Dual Sessions,
Hardrive,
The Black Dice,
X-101,
Wolf Eyes,
Wasted Youth,
It's A Beautiful Day,
Von Mondo,
Saccharine Trust,
Vladislav Delay,
Drive Like Jehu,
Roxy Music,
Massinfluence,
The Move,
Inner City,
Visionaries,LMNO, T- Love & Iriscience,
the Germs,
Mars,
Oblivians,
Alton Ellis,
Joe Finger,
Cybotron,
LL Cool J, LL Cool J, LL Cool J, LL Cool J.
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.