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 Italy and from Cairo.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1979.
I'm losing my edge.
To all the kids in Philadelphia and Spokane.
I'm losing my edge to the art-school Jakarta 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 clarinet sounds with much patience.
I was there when Donald Fagen 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 Bill Wells to the rock kids.
I played it at Cafe Wha.
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 Swell Maps. All the underground hits.
All Dead Boys tracks. I heard you have a vinyl of every Ten City record on German import.
I heard that you have a white label of every seminal funk 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 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Buzzcocks record.
I hear that you and your band have sold your linndrum and bought a sitar.
I hear that you and your band have sold your sitar and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glambeats Corp.,
Peter and Kerry,
Scan 7,
DJ Sneak,
The Young Rascals,
James Chance & The Contortions,
Tom Boy,
Gary Puckett & The Union Gap,
Kango’s Stein Massive,
T. Rex,
Bootsy Collins,
Todd Terry,
Pete Rock & C.L. Smooth,
Minny Pops,
It's A Beautiful Day,
Flipper,
Con Funk Shun,
The Slits,
Desert Stars,
The Stooges,
Jeff Lynne,
The Evens,
Ken Boothe,
The Gun Club,
Severed Heads,
These Immortal Souls,
Parry Music,
the Human League,
Rufus Thomas,
Cluster,
Mission of Burma,
Althea and Donna,
Cymande,
The Men They Couldn't Hang,
Robert Görl,
the Germs,
Siglo XX,
Qualms,
Surgeon,
Captain Beefheart & His Magic Band,
Throbbing Gristle,
Scratch Acid,
Vladislav Delay,
Grauzone,
John Coltrane,
Stockholm Monsters,
Blake Baxter,
Curtis Mayfield,
Simply Red,
Model 500,
Anakelly,
Intrusion,
Y Pants,
Agitation Free,
Q and Not U,
Nico,
Beasts of Bourbon,
Dual Sessions,
The Fire Engines,
The Vogues,
The Alarm Clocks,
Kerrie Biddell,
Main Source, Main Source, Main Source, Main Source.
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.