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 India and from Tokyo.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Lagos and Manchester.
I'm losing my edge to the art-school Accra 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 1968 at the first Can practice in a loft in Cologne.
I was working on the linndrum sounds with much patience.
I was there when Captain Beefheart 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 a-ha to the jazz kids.
I played it at the Hacienda.
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 London Community Gospel Choir. All the underground hits.
All Eurythmics tracks. I heard you have a vinyl of every Yellowson record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mummies,
Pete Rock & C.L. Smooth,
Janne Schatter,
The Leaves,
Shoche,
Godley & Creme,
Joy Division,
Angry Samoans,
Fela Kuti,
Tom Boy,
Warren Ellis,
Morten Harket,
Das Ding,
Davy DMX,
Laurel Aitken,
Kerrie Biddell,
Guru Guru,
Spoonie Gee,
The Divine Comedy,
Pole,
Freddie Wadling,
Silicon Teens,
Hasil Adkins,
The Star Department,
Public Image Ltd.,
Siglo XX,
Roxette,
The Durutti Column,
Trumans Water,
Pussy Galore,
Sällskapet,
Ponytail,
Angels of Light & Akron/Family,
cv313,
The Real Kids,
The Associates,
Theoretical Girls,
Harpers Bizarre,
Pierre Henry,
The American Breed,
Eddi Front,
Nation of Ulysses,
Sight & Sound,
Byron Stingily,
Unwound,
Chrome,
The Beau Brummels,
Man Eating Sloth,
Marvin Gaye,
John Coltrane,
Aswad,
Ken Boothe,
Mars,
Amazonics,
Slick Rick,
The Shadows of Knight,
Cybotron,
Boredoms,
Danielle Patucci,
Wings,
Skaos,
Andrew Ashong & Theo Parrish,
Index, Index, Index, Index.
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.