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 Hungary and from Lyon.
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 1965 to 1978.
I'm losing my edge.
To all the kids in London and Cairo.
I'm losing my edge to the art-school Tokyo 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the clarinet sounds with much patience.
I was there when Nile Rodgers 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 Mary Jane Girls to the funk 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 Notorious BIG live in Amsterdam. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every Anakelly record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s 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 Pantaleimon record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Angry Samoans,
Wighnomy Brothers & Robag Wruhme,
Easy Going,
The Zeros,
Essential Logic,
Louis and Bebe Barron,
Warsaw,
The Buckinghams,
Morten Harket,
John Coltrane,
Suburban Knight,
Babytalk,
Accadde A,
The Busters,
Henry Cow,
Groovy Waters,
Can,
Grandmaster Flash,
Section 25,
Wolf Eyes,
Radio Birdman,
Funkadelic,
Gang Gang Dance,
Malaria!,
Talk Talk,
New Order,
Major Organ And The Adding Machine,
Pere Ubu,
Soulsonic Force,
Toni Rubio,
Nick Cave & The Bad Seeds,
Brothers Johnson,
Pagans,
Eli Mardock,
The Cramps,
Pylon,
Audionom,
Altered Images,
Joey Negro,
Neu!,
Camberwell Now,
Smog,
Lonnie Liston Smith,
Bobby Byrd,
The Music Machine,
Richard Hell and the Voidoids,
Slick Rick,
DNA,
Scion,
The West Coast Pop Art Experimental Band,
China Crisis,
Loose Ends,
Bizarre Inc.,
Curtis Mayfield,
Mission of Burma,
Alton Ellis,
Anakelly,
Blake Baxter,
Public Image Ltd.,
John Foxx,
Leonard Cohen,
Scrapy,
The Leaves, The Leaves, The Leaves, The Leaves.
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.