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 Dominican Republic and from Accra.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Glasgow and Milan.
I'm losing my edge to the art-school Lagos 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 Negative Approach to the dance 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 Soft Machine. All the underground hits.
All The Doobie Brothers tracks. I heard you have a vinyl of every Ken Boothe record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Stooges,
Deadbeat,
Danielle Patucci,
H. Thieme,
Masters at Work,
The Seeds,
Scrapy,
Robert Görl,
The Monochrome Set,
Lou Christie,
Ken Boothe,
Scott Walker,
Darondo,
Terry Callier,
Cymande,
Oppenheimer Analysis,
ABBA,
The Divine Comedy,
DNA,
The Blues Magoos,
Ultimate Spinach,
Panda Bear,
The Fuzztones,
Suicide,
The Angels of Light,
Reagan Youth,
Bootsy Collins,
Gregory Isaacs,
Nirvana,
The Grass Roots,
Royal Trux,
Fatback Band,
Harmonia,
Sonic Youth,
Dawn Penn,
The Victims,
Davy DMX,
Heaven 17,
Kenny Larkin,
It's A Beautiful Day,
X-102,
Intrusion,
The Star Department,
Lindisfarne,
A Flock of Seagulls,
Echo & the Bunnymen,
Ituana,
Funky Four + One,
Basic Channel,
Vaughan Mason & Crew,
Aloha Tigers,
Hoover,
Television,
Skriet,
The Vogues,
The Durutti Column,
Sun Ra Arkestra,
The Fire Engines,
Tom Boy,
Stiv Bators,
Sunsets and Hearts,
PIL,
Jacob Miller,
Lou Reed, Lou Reed, Lou Reed, Lou Reed.
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.