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 Switzerland and from Lagos.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Paris and Winnipeg.
I'm losing my edge to the art-school Salvador 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 clarinet 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 The Slits to the grunge kids.
I played it at the 40 Watt.
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 Brass Construction. All the underground hits.
All Depeche Mode tracks. I heard you have a vinyl of every Althea and Donna record on German import.
I heard that you have a white label of every seminal jazz 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 chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Barrington Levy record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wighnomy Brothers & Robag Wruhme,
Suburban Knight,
Gian Franco Pienzio,
Bang On A Can,
Hardrive,
The United States of America,
Sexual Harrassment,
Stereo Dub,
Gong,
Gregory Isaacs,
Thinking Fellers Union Local 282,
Fort Wilson Riot,
Freddie Wadling,
Radiohead,
Sparks,
Robert Görl,
The Real Kids,
Cluster,
Supertramp,
Jesper Dahlbäck,
Warsaw,
Throbbing Gristle,
Q and Not U,
Avey Tare,
Al Stewart,
Dark Day,
The Smoke,
Quantec,
Marvin Gaye,
Public Enemy,
Rakim,
Dr. Dre and Snoop Doggy Dog,
Soul Sonic Force,
Marc Romboy vs. Booka Shade,
The Martian,
Oneida,
Lungfish,
Monolake,
Tubeway Army,
Lou Christie,
Ten City,
T.S.O.L.,
UT,
The Doobie Brothers,
Suicide,
The Star Department,
X-Ray Spex,
Porter Ricks,
La Düsseldorf,
Pharaoh Sanders and the Fire Engines,
Matthew Halsall,
Red Lorry Yellow Lorry,
Kurtis Blow,
Main Source,
The Buckinghams,
Pete Rock & C.L. Smooth,
The Offenders,
Glambeats Corp.,
The Royal Family And The Poor,
Clear Light,
Kings Of Tomorrow,
Joyce Sims,
Schoolly D,
Colin Newman,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.