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 Poland and from Copenhagen.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and Houston.
I'm losing my edge to the art-school Tehran 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the 808 sounds with much patience.
I was there when David Bowie 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 Masters at Work to the rap kids.
I played it at CBGB's.
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 Minutemen. All the underground hits.
All Q65 tracks. I heard you have a vinyl of every The Sisters of Mercy 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 '70s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Little Man record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fear,
the Swans,
Nick Cave & The Bad Seeds,
Charles Mingus,
Richard Hell and the Voidoids,
the Germs,
Sonny Sharrock,
Oppenheimer Analysis,
Absolute Body Control,
Dorothy Ashby,
Simply Red,
Fluxion,
Eli Mardock,
Notorious BIG live in Amsterdam,
Sun City Girls,
Boz Scaggs,
Royal Trux,
The Motions,
Frankie Knuckles,
Strawberry Alarm Clock,
Crispian St. Peters,
The Pretty Things,
Matthew Halsall,
Todd Terry,
Tropical Tobacco,
Nas,
Roy Ayers Ubiquity,
Goldenarms,
Deepchord,
Bobby Byrd,
Laurel Aitken,
Lalann,
E-Dancer,
Aloha Tigers,
Radio Birdman,
UT,
Bang On A Can,
Radiohead,
Stetsasonic,
Judy Mowatt,
Orchestral Manoeuvres in the Dark,
The Modern Lovers,
Popol Vuh,
Malaria!,
John Holt,
Letta Mbulu,
Neu!,
Reuben Wilson,
Pere Ubu,
Kurtis Blow,
The Vogues,
Q and Not U,
Ultravox,
The Searchers,
Ossler,
AZ,
The Monks,
Kevin Saunderson,
The Zeros,
Steve Hackett,
The Evens,
Pylon, Pylon, Pylon, Pylon.
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.