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 Micronesia and from Shanghai.
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 1974.
I'm losing my edge.
To all the kids in Glasgow and London.
I'm losing my edge to the art-school Seoul 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the mellotron 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 Alton Ellis to the rap 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 Dave Gahan. All the underground hits.
All Magma tracks. I heard you have a vinyl of every Laurel Aitken record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Hoover record.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camron Feat. Memphis Bleek And Beenie Seigel,
The West Coast Pop Art Experimental Band,
Marmalade,
Electric Prunes,
Fatback Band,
Man Parrish,
Bad Manners,
Cameo,
Steve Hackett,
Tropical Tobacco,
Bobbi Humphrey,
Flash Fearless,
The Move,
Echospace,
Vainqueur,
Harmonia,
Gong,
Lebanon Hanover,
The Fuzztones,
Mary Jane Girls,
The Blues Magoos,
Shoche,
Red Lorry Yellow Lorry,
Be Bop Deluxe,
X-102,
Barrington Levy,
Suburban Knight,
Skarface,
Supertramp,
Joe Finger,
Terry Callier,
Gang of Four,
Lou Reed,
Faraquet,
Desert Stars,
The Divine Comedy,
Royal Trux,
Clear Light,
Severed Heads,
The Victims,
Erasure,
Patti Smith,
Lyres,
JFA,
Amon Düül II,
Hot Snakes,
Siouxsie and the Banshees,
Lee Hazlewood,
Unrelated Segments,
Grandmaster Flash,
Kenny Larkin,
Jimmy McGriff,
The Stooges,
Notorious BIG live in Amsterdam,
Kings Of Tomorrow,
Jeff Lynne,
John Lydon,
John Holt,
Stockholm Monsters,
Eddi Front,
Deutsch Amerikanische Freundschaft,
Juan Atkins,
Electric Light Orchestra,
Röyhkä ja Rättö ja Lehtisalo,
Lalann, Lalann, Lalann, Lalann.
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.