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 Angola and from Mexico City.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Spokane and Lille.
I'm losing my edge to the art-school Glasgow 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 oboe 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 Wally Richardson to the funk 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 Black Moon. All the underground hits.
All Pere Ubu tracks. I heard you have a vinyl of every Crime record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Lightning Bolt record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siouxsie and the Banshees,
Althea and Donna,
Visage,
Avey Tare's Slasher Flicks,
Stockholm Monsters,
Drive Like Jehu,
Kas Product,
Qualms,
D'Angelo,
Dave Gahan,
Essential Logic,
Outsiders,
New York Dolls,
Freddie Wadling,
Wolf Eyes,
The Golliwogs,
Cameo,
The Sisters of Mercy,
The Techniques,
Beasts of Bourbon,
Con Funk Shun,
Aswad,
Peter Gordon & Love of Life Orchestra,
Blake Baxter,
Marcia Griffiths,
The Monks,
The Cramps,
Alice Coltrane,
Eve St. Jones,
Tim Buckley,
Tommy Roe,
Big Daddy Kane,
Bush Tetras,
Symarip,
Swans,
H. Thieme,
Andrew Hill,
Scott Walker,
Ultramagnetic MC's,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Bob Dylan,
Ronan,
kango's stein massive,
Bang On A Can,
Crispian St. Peters,
Darondo,
Fela Kuti,
Cybotron,
Bobbi Humphrey,
Flash Fearless,
Fear,
Gerry Rafferty,
Country Teasers,
Saccharine Trust,
Jeff Mills,
Barclay James Harvest,
The Toasters,
John Holt,
Rowland S Howard / Lydia Lunch,
Audionom,
Banda Bassotti, Banda Bassotti, Banda Bassotti, Banda Bassotti.
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.