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 Armenia and from Hong Kong.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Lille.
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 1978 at the first Visage practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when Donald Fagen 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 Remains to the jazz kids.
I played it at the Roxy.
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 Joe Smooth. All the underground hits.
All Panda Bear tracks. I heard you have a vinyl of every Accadde A record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Röyhkä ja Rättö ja Lehtisalo record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious BIG live in Amsterdam,
Deutsch Amerikanische Freundschaft,
Mad Mike,
Brass Construction,
B.T. Express,
A Certain Ratio,
Ultramagnetic MC's,
X-101,
The Moleskins,
Eve St. Jones,
Talk Talk,
Japan,
Eli Mardock,
The Monochrome Set,
Amazonics,
Dawn Penn,
June Days,
Robert Wyatt,
Bauhaus,
Graham Central Station,
It's A Beautiful Day,
Kauko Röyhkä ja Narttu,
Newcleus,
Rosa Yemen,
Niagra,
Thompson Twins,
the Germs,
Albert Ayler,
New Order,
Bang on a Can All-Stars,
Los Fastidios,
Deepchord,
Susan Cadogan,
Kerri Chandler,
Juan Atkins,
Shuggie Otis,
the Swans,
The Barracudas,
The Sonics,
Whodini,
ABC,
The Zeros,
Malaria!,
48th St. Collective,
Sällskapet,
Donald Byrd,
Pagans,
Hoover,
Smog,
Roy Ayers Ubiquity,
Spandau Ballet,
Tubeway Army,
Justin Hinds & The Dominoes,
U.S. Maple,
Ohio Players,
Eurythmics,
Ash Ra Tempel,
Duran Duran,
Jerry's Kids,
Section 25,
Johnny Osbourne,
Pussy Galore, Pussy Galore, Pussy Galore, Pussy Galore.
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.