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 Belgium 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 1975.
I'm losing my edge.
To all the kids in Copenhagen and Milan.
I'm losing my edge to the art-school Copenhagen 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Erasure to the jazz kids.
I played it at Trash.
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 Freddie Wadling. All the underground hits.
All Trumans Water tracks. I heard you have a vinyl of every Warsaw record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hot Snakes,
Steve Hackett,
Grauzone,
Max Romeo,
The Litter,
Sound Behaviour,
Marmalade,
Glambeats Corp.,
Pierre Henry,
Nick Cave & The Bad Seeds,
The Flesh Eaters,
Lindisfarne,
Q and Not U,
Gerry Rafferty,
Ten City,
Essential Logic,
DeepChord presents Echospace,
H. Thieme,
Joyce Sims,
MC5,
Quadrant,
China Crisis,
The Star Department,
Hoover,
Isaac Hayes,
The Techniques,
Patti Smith,
Teenage Jesus and the Jerks,
the Association,
Frankie Knuckles,
Robert Hood,
Gian Franco Pienzio,
Freddie Wadling,
Be Bop Deluxe,
Simply Red,
The Golliwogs,
The Fall,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Make Up,
The Toasters,
FM Einheit,
Wire,
Harmonia,
X-Ray Spex,
Deutsch Amerikanische Freundschaft,
The Fuzztones,
Wasted Youth,
Eden Ahbez,
Babytalk,
Flash Fearless,
Peter and Kerry,
The Motions,
Rotary Connection,
Neil Young,
Crispy Ambulance,
Das Ding,
Barry Ungar,
The Saints,
LL Cool J,
Throbbing Gristle,
The Mighty Diamonds,
Nils Olav,
Scratch Acid,
Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu.
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.