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 Luxembourg and from Manila.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Johannesburg.
I'm losing my edge to the art-school Halifax 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 linndrum sounds with much patience.
I was there when Lou Reed 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 Dual Sessions to the techno kids.
I played it at the 40 Watt.
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 Howard Jones. All the underground hits.
All Moebius tracks. I heard you have a vinyl of every Lou Reed record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Count Five,
Black Flag,
Black Bananas,
Peter Gordon & Love of Life Orchestra,
The Shadows of Knight,
Charles Mingus,
Scrapy,
Rahsaan Roland Kirk,
Tears for Fears,
The Skatalites,
The Motions,
Shuggie Otis,
Malaria!,
Sam Rivers,
Accadde A,
The Gun Club,
LL Cool J,
James Chance & The Contortions,
Bad Manners,
Zero Boys,
Television,
Leonard Cohen,
Camron Feat. Jay Z And Juelz,
The Neon Judgement,
Suicide,
Jimmy McGriff,
Beasts of Bourbon,
The Chocolate Watch Band,
Brass Construction,
The Fire Engines,
Grandmaster Flash and the Furious Five,
Funkadelic,
The West Coast Pop Art Experimental Band,
F. McDonald,
Nick Fraelich,
JFA,
Subhumans,
Avey Tare's Slasher Flicks,
The Names,
The J.B.'s,
48th St. Collective,
The Pop Group,
Joyce Sims,
Lafayette Afro Rock Band,
June of 44,
Country Teasers,
Rakim,
Wally Richardson,
Kool Moe Dee,
Desert Stars,
Robert Wyatt,
Theoretical Girls,
Fat Boys,
Brick,
The Blackbyrds,
The Human League,
Dual Sessions,
Silicon Teens,
Lightning Bolt,
Bootsy Collins,
Massinfluence,
Iggy Pop,
The Toasters, The Toasters, The Toasters, The Toasters.
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.