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 Ethiopia and from Mumbai.
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 1974.
I'm losing my edge.
To all the kids in Seoul and Manchester.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 Sarah Menescal to the electroclash 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 Aural Exciters. All the underground hits.
All Henry Cow tracks. I heard you have a vinyl of every Alice Coltrane 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 an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Deepchord record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deakin,
Wally Richardson,
New York Dolls,
MC5,
Rhythm & Sound,
Darondo,
Sun Ra Arkestra,
Pulsallama,
Johnny Osbourne,
The Star Department,
Matthew Bourne,
Aaron Thompson,
Peter Gordon & Love of Life Orchestra,
The Dirtbombs,
Eric Copeland,
The Gladiators,
Nick Fraelich,
Fela Kuti,
Buzzcocks,
The Angels of Light,
Minny Pops,
The Pretty Things,
Boogie Down Productions,
Skriet,
Swell Maps,
Mr. Review,
Pete Rock & C.L. Smooth,
Los Fastidios,
The Count Five,
The Jesus and Mary Chain,
Sun Ra,
Marvin Gaye,
Public Enemy,
Q65,
Fort Wilson Riot,
Mo-Dettes,
T. Rex,
Josef K,
Dead Boys,
Roxy Music,
Liaisons Dangereuses,
June Days,
Stereo Dub,
Tommy Roe,
Yaz,
Teenage Jesus and the Jerks,
Young Marble Giants,
Sex Pistols,
Deadbeat,
The Peanut Butter Conspiracy,
Henry Cow,
Maleditus Sound,
Morten Harket,
Barrington Levy,
The Associates,
Infiniti,
John Foxx,
Gang Gang Dance,
Eden Ahbez,
Black Flag,
The Golliwogs,
Desert Stars,
Suburban Knight,
Flipper,
Mad Mike, Mad Mike, Mad Mike, Mad Mike.
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.