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 Korea South 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 1969 to 1972.
I'm losing my edge.
To all the kids in Lyon and New York.
I'm losing my edge to the art-school Mexico City 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 Soft Boys practice in a loft in Cambridge.
I was working on the chamberlin sounds with much patience.
I was there when Holger Czukay 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 Groovy Waters to the funk kids.
I played it at CBGB's.
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 Rapeman. All the underground hits.
All Nas tracks. I heard you have a vinyl of every Minor Threat record on German import.
I heard that you have a white label of every seminal punk 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 guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Swell Maps record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deadbeat,
Warren Ellis,
Echospace,
Yazoo,
James Chance & The Contortions,
Ornette Coleman,
The Wake,
Lonnie Liston Smith,
Thinking Fellers Union Local 282,
Deutsch Amerikanische Freundschaft,
Q and Not U,
Lalo Schifrin,
Derrick Morgan,
Unrelated Segments,
DNA,
Magazine,
The Pop Group,
Slave,
Black Moon,
Hoover,
Scratch Acid,
Icehouse,
Quando Quango,
Harpers Bizarre,
Rufus Thomas,
Drive Like Jehu,
The Sound,
Siglo XX,
The Index,
Lou Reed & Metallica,
Tropical Tobacco,
Sixth Finger,
Jacob Miller,
Strawberry Alarm Clock,
The Residents,
Dark Day,
Robert Görl,
Sarah Menescal,
Ken Boothe,
Ice-T,
Pet Shop Boys,
Sight & Sound,
Ponytail,
Masters at Work,
Bush Tetras,
kango's stein massive,
Chrome,
DJ Style,
A Flock of Seagulls,
Das Ding,
Glambeats Corp.,
DJ Sneak,
Gian Franco Pienzio,
Brass Construction,
The Kinks,
the Soft Cell,
Wally Richardson,
Amon Düül,
Ajijia Myrayebe,
F. McDonald,
Joyce Sims,
The Tremeloes,
Nation of Ulysses,
Arab on Radar, Arab on Radar, Arab on Radar, Arab on Radar.
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.