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 Slovenia and from Salvador.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 Bremen and Spokane.
I'm losing my edge to the art-school Sao Paulo 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 Buzzcocks practice in a loft in Bolton.
I was working on the marimba 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 U.S. Maple to the electroclash 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 Kayak. All the underground hits.
All The Saints tracks. I heard you have a vinyl of every The United States of America record on German import.
I heard that you have a white label of every seminal jazz 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 a clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Radiopuhelimet record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
ABBA,
Rekid,
Nils Olav,
Interpol,
Can,
Faust,
R.M.O.,
Bluetip,
Judy Mowatt,
Ultimate Spinach,
Thee Headcoats,
Oppenheimer Analysis,
Deutsch Amerikanische Freundschaft,
The Dave Clark Five,
Young Marble Giants,
Henry Cow,
the Normal,
Bobby Sherman,
The Alarm Clocks,
Quando Quango,
The Victims,
Flash Fearless,
Main Source,
Jerry Gold Smith,
Marshall Jefferson,
OOIOO,
Half Japanese,
The Kinks,
The Neon Judgement,
JFA,
Johnny Osbourne,
Drexciya,
Barbara Tucker,
Underground Resistance,
Selector Dub Narcotic,
Gian Franco Pienzio,
Altered Images,
Tomorrow,
Scientists,
Bad Manners,
D'Angelo,
Ronnie Foster,
Dawn Penn,
John Foxx,
Aaron Thompson,
Andrew Ashong & Theo Parrish,
Camouflage,
Black Bananas,
Sound Behaviour,
New Order,
The Human League,
Chrome,
Technova,
Jeru the Damaja,
KRS-One,
La Düsseldorf,
Richard Hell and the Voidoids,
Bush Tetras,
Avey Tare's Slasher Flicks,
The Men They Couldn't Hang,
Hasil Adkins,
Michelle Simonal,
MC5, MC5, MC5, MC5.
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.