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 Gambia and from Delhi.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Jakarta and Manchester.
I'm losing my edge to the art-school Manchester 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 theremin 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 The Gun Club to the techno kids.
I played it at the Astoria.
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 The Toasters. All the underground hits.
All Chris Corsano tracks. I heard you have a vinyl of every Boogie Down Productions 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 '50s cut and another box set from the '70s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Magma record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Index,
Audionom,
The Cramps,
Gregory Isaacs,
The Red Krayola,
DeepChord presents Echospace,
Das Ding,
World's Most,
F. McDonald,
Fort Wilson Riot,
Pierre Henry,
Yaz,
Easy Going,
Lebanon Hanover,
Eric Copeland,
Desert Stars,
Nirvana,
Quantec,
The Motions,
Con Funk Shun,
Ultravox,
Orchestral Manoeuvres in the Dark,
Jacob Miller,
Todd Rundgren,
Alison Limerick,
New Age Steppers,
Deutsch Amerikanische Freundschaft,
Sonny Sharrock,
John Coltrane,
Amon Düül,
Thompson Twins,
Stockholm Monsters,
Neu!,
London Community Gospel Choir,
Joe Smooth,
Bizarre Inc.,
Tears for Fears,
Masters at Work,
Motorama,
The Detroit Cobras,
Curtis Mayfield,
Brand Nubian,
Nico,
Yusef Lateef,
T.S.O.L.,
Clear Light,
Hoover,
Aaron Thompson,
The Durutti Column,
The Moody Blues,
The Slits,
Liaisons Dangereuses,
Vladislav Delay,
Terry Callier,
John Cale,
Anakelly,
Little Man,
KRS-One,
Sunsets and Hearts,
Jacques Brel,
Kurtis Blow,
Kerrie Biddell, Kerrie Biddell, Kerrie Biddell, Kerrie Biddell.
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.