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 Ukraine and from Copenhagen.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and Lille.
I'm losing my edge to the art-school Mumbai 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 arpeggiator 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 Morten Harket to the rap 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 Agitation Free. All the underground hits.
All Bobby Womack tracks. I heard you have a vinyl of every Rapeman record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Frankie Knuckles record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed,
Camron Feat. Memphis Bleek And Beenie Seigel,
Wire,
Anakelly,
Tom Boy,
MC5,
Fugazi,
Bang On A Can,
The Toasters,
Zapp,
H. Thieme,
48th St. Collective,
The Motions,
Rosa Yemen,
Peter Gordon & Love of Life Orchestra,
Alphaville,
The J.B.'s,
Monolake,
Piero Umiliani,
Rakim,
Nick Cave & The Bad Seeds,
London Community Gospel Choir,
Hot Snakes,
The Cowsills,
The Detroit Cobras,
Soft Machine,
Captain Beefheart & His Magic Band,
B.T. Express,
Sunsets and Hearts,
Hasil Adkins,
Funky Four + One,
Lee Hazlewood,
The Zeros,
Rotary Connection,
Althea and Donna,
Cameo,
Lou Christie,
New York Dolls,
Ice-T,
Essential Logic,
Magma,
Scan 7,
Matthew Bourne,
Bizarre Inc.,
Angry Samoans,
Oppenheimer Analysis,
FM Einheit,
Tim Buckley,
Teenage Jesus and the Jerks,
June Days,
Cabaret Voltaire,
Interpol,
Lou Reed & John Cale,
Roxy Music,
Freddie Wadling,
AZ,
The Golliwogs,
Absolute Body Control,
Kerrie Biddell,
The Residents,
Shoche, Shoche, Shoche, Shoche.
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.