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 Zambia and from Delhi.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Bologna and Woodstock.
I'm losing my edge to the art-school Salvador 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the harpsichord 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 Howard Jones to the crunk 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 The Seeds. All the underground hits.
All La Düsseldorf tracks. I heard you have a vinyl of every Zapp 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 '50s cut and another box set from the '70s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Misunderstood record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultra Naté,
Lou Reed & John Cale,
Sight & Sound,
Magazine,
The Pop Group,
James Chance & The Contortions,
The Black Dice,
The Mighty Diamonds,
Franke,
Black Flag,
Desert Stars,
Subhumans,
Index,
Aural Exciters,
This Heat,
Pantaleimon,
48th St. Collective,
Beasts of Bourbon,
New Age Steppers,
Slave,
Nas,
Manfred Mann's Earth Band,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Harpers Bizarre,
Duran Duran,
Thee Headcoats,
Bobby Sherman,
Icehouse,
Lee Hazlewood,
Fifty Foot Hose,
K-Klass,
Marcia Griffiths,
Suicide,
The Dead C,
The Walker Brothers,
Quantec,
Stereo Dub,
Quadrant,
Scratch Acid,
Eurythmics,
Avey Tare,
Erasure,
The Litter,
Brothers Johnson,
Roxette,
the Human League,
Buzzcocks,
The Tremeloes,
Bobby Byrd,
Chris Corsano,
Roxy Music,
Joy Division,
Ten City,
Tropical Tobacco,
Eli Mardock,
Be Bop Deluxe,
Lalo Schifrin,
Pierre Henry,
Kauko Röyhkä ja Narttu,
Camberwell Now,
Andrew Hill,
Theoretical Girls,
Rites of Spring,
Leonard Cohen, Leonard Cohen, Leonard Cohen, Leonard Cohen.
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.