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 Niger and from Salvador.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Lille and Mumbai.
I'm losing my edge to the art-school Shanghai 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 snare 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 Public Image Ltd. to the dance kids.
I played it at the Spitz.
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 James Chance & The Contortions. All the underground hits.
All David McCallum tracks. I heard you have a vinyl of every Nirvana record on German import.
I heard that you have a white label of every seminal rap 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 theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Oneida record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed,
Black Moon,
Cheater Slicks,
Whodini,
The Young Rascals,
Boogie Down Productions,
Section 25,
Eden Ahbez,
Pussy Galore,
Youth Brigade,
Loose Ends,
Aaron Thompson,
Notorious BIG live in Amsterdam,
The Sisters of Mercy,
Lou Reed & John Cale,
Bizarre Inc.,
The Names,
Major Organ And The Adding Machine,
Con Funk Shun,
Pole,
the Normal,
Art Ensemble Of Chicago,
The Shadows of Knight,
James Chance & The Contortions,
Sight & Sound,
U.S. Maple,
DeepChord presents Echospace,
The Misunderstood,
Soulsonic Force,
Public Image Ltd.,
Sly & The Family Stone,
Tommy Roe,
Quadrant,
La Düsseldorf,
Flamin' Groovies,
The Golliwogs,
Nik Kershaw,
Chris & Cosey,
Ornette Coleman,
Rapeman,
Crispian St. Peters,
Deadbeat,
Tomorrow,
Malaria!,
Frankie Knuckles,
Lou Reed & Metallica,
Ossler,
Roy Ayers,
Robert Görl,
Slick Rick,
Dual Sessions,
Lebanon Hanover,
Roxette,
Delta 5,
DNA,
Animal Collective,
Connie Case,
Make Up,
The Moleskins,
T.S.O.L.,
The West Coast Pop Art Experimental Band,
Lonnie Liston Smith,
Glambeats Corp., Glambeats Corp., Glambeats Corp., Glambeats Corp..
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.