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 Cuba and from Salvador.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Madrid and Bremen.
I'm losing my edge to the art-school Tokyo 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 güiro 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 Kerrie Biddell to the electroclash 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 Sad Lovers and Giants. All the underground hits.
All Mo-Dettes tracks. I heard you have a vinyl of every Public Enemy 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 '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a June of 44 record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-102,
The Names,
The Moleskins,
Colin Newman,
Bronski Beat,
The Mighty Diamonds,
Eve St. Jones,
Tropical Tobacco,
Quadrant,
Half Japanese,
Albert Ayler,
Monolake,
The Misunderstood,
Louis and Bebe Barron,
Ajijia Myrayebe,
Young Marble Giants,
Fela Kuti,
a-ha,
Model 500,
Barbara Tucker,
D'Angelo,
The Saints,
Newcleus,
Gian Franco Pienzio,
FM Einheit,
Television,
Orchestral Manoeuvres in the Dark,
The Evens,
Marmalade,
Crash Course in Science,
Gil Scott Heron,
Q65,
Sixth Finger,
Marcia Griffiths,
T.S.O.L.,
U.S. Maple,
Dawn Penn,
The Moody Blues,
Aswad,
Ultravox,
Smog,
Johnny Clarke,
Slave,
The Selecter,
Eli Mardock,
kango's stein massive,
The Raincoats,
The Slits,
Gong,
Aaron Thompson,
Marine Girls,
Fifty Foot Hose,
The Real Kids,
Nick Cave & The Bad Seeds,
Peter & Gordon,
Echo & the Bunnymen,
The Cosmic Jokers,
Rufus Thomas,
The Trojans,
The Star Department,
The Royal Family And The Poor,
Fat Boys,
Bill Near, Bill Near, Bill Near, Bill Near.
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.