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 Lithuania and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1970.
I'm losing my edge.
To all the kids in Lille and Winnipeg.
I'm losing my edge to the art-school Calgary 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 synthesizer sounds with much patience.
I was there when Holger Czukay 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 Gang Green to the electroclash kids.
I played it at the Crocodile.
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 Patti Smith. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every Minutemen 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 '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Bluetip record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronnie Foster,
Sound Behaviour,
Sexual Harrassment,
Icehouse,
Unwound,
Leonard Cohen,
Sixth Finger,
Brick,
Sonic Youth,
Model 500,
Gang Starr,
Suburban Knight,
Strawberry Alarm Clock,
Minutemen,
Jeff Lynne,
Marshall Jefferson,
The Techniques,
Popol Vuh,
Little Man,
Nico,
The Pop Group,
Mad Mike,
Cecil Taylor,
Jesper Dahlbäck,
The Victims,
Vaughan Mason & Crew,
Q and Not U,
Fort Wilson Riot,
Black Bananas,
Make Up,
Lou Reed,
Gregory Isaacs,
Severed Heads,
the Human League,
Bang On A Can,
Fluxion,
The Red Krayola,
Lucky Dragons,
The Detroit Cobras,
the Soft Cell,
June of 44,
The Shadows of Knight,
The Pretty Things,
Angels of Light & Akron/Family,
Drive Like Jehu,
Mandrill,
the Fania All-Stars,
Roy Ayers,
Gil Scott-Heron and Jamie xx,
The Grass Roots,
Saccharine Trust,
PIL,
The Mighty Diamonds,
Tubeway Army,
Johnny Osbourne,
Super Lover Cee & Casanova Rud,
The Zeros,
Warren Ellis,
Chrome,
the Bar-Kays,
Art Ensemble Of Chicago,
Pantytec,
Faust, Faust, Faust, Faust.
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.