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 Equatorial Guinea and from Salvador.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Houston and Glasgow.
I'm losing my edge to the art-school Jakarta 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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 John Cale to the disco kids.
I played it at the Astoria.
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 Soft Cell. All the underground hits.
All Ronnie Foster tracks. I heard you have a vinyl of every Rod Modell record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your snare and bought a marimba.
I hear that you and your band have sold your marimba and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
CMW,
Technova,
Nik Kershaw,
Newcleus,
Joy Division,
Eric Dolphy,
Skaos,
Curtis Mayfield,
the Bar-Kays,
Rites of Spring,
T. Rex,
The Five Americans,
These Immortal Souls,
Monolake,
Pole,
Mandrill,
Trumans Water,
Sight & Sound,
Negative Approach,
The Cure,
Kaleidoscope,
U.S. Maple,
K-Klass,
Pylon,
Johnny Osbourne,
Chris Corsano,
The Fugs,
Excepter,
Country Joe & The Fish,
KRS-One,
Avey Tare's Slasher Flicks,
Moby Grape,
JFA,
The Grass Roots,
Ohio Players,
Nation of Ulysses,
Q and Not U,
Peter Gordon & Love of Life Orchestra,
Man Eating Sloth,
Eric Copeland,
Kool Moe Dee,
L. Decosne,
The Mighty Diamonds,
Pharoah Sanders,
Wire,
Rotary Connection,
Camberwell Now,
Sugar Minott,
Marshall Jefferson,
D'Angelo,
The Star Department,
The Associates,
Japan,
Youth Brigade,
The Durutti Column,
Monks,
Grauzone,
Isaac Hayes,
Guru Guru,
Simply Red,
The Barracudas,
Sonic Youth,
Soft Cell,
Blossom Toes, Blossom Toes, Blossom Toes, Blossom Toes.
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.