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 United Kingdom and from London.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Winnipeg and Sao Paulo.
I'm losing my edge to the art-school Glasgow 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 Flesh Eaters to the crunk 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 Liaisons Dangereuses. All the underground hits.
All The Monochrome Set tracks. I heard you have a vinyl of every Todd Terry record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Swans record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & Metallica,
Freddie Wadling,
Richard Hell and the Voidoids,
T. Rex,
Mars,
Boz Scaggs,
Delon & Dalcan,
Joey Negro,
Skarface,
Sad Lovers and Giants,
Alton Ellis,
Joensuu 1685,
The Sisters of Mercy,
Cymande,
Hoover,
Minnie Riperton,
Jeru the Damaja,
A Certain Ratio,
Red Lorry Yellow Lorry,
Negative Approach,
Kool Moe Dee,
Lee Hazlewood,
The Doors,
Johnny Osbourne,
Eli Mardock,
The Associates,
Public Image Ltd.,
Scion,
The Buckinghams,
Matthew Halsall,
Tubeway Army,
Flipper,
Sight & Sound,
Make Up,
Marcia Griffiths,
CMW,
Nas,
Das Ding,
Isaac Hayes,
The Detroit Cobras,
Niagra,
Kaleidoscope,
Camberwell Now,
Lou Reed & John Cale,
Gerry Rafferty,
Reagan Youth,
Section 25,
La Düsseldorf,
Pet Shop Boys,
Harry Pussy,
The Fuzztones,
New Order,
Lou Christie,
Faraquet,
Eurythmics,
Nik Kershaw,
Unwound,
Duran Duran,
Kenny Larkin,
Strawberry Alarm Clock,
Pharaoh Sanders and the Fire Engines,
Ice-T, Ice-T, Ice-T, Ice-T.
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.