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 Columbus.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1972.
I'm losing my edge.
To all the kids in Houston and Halifax.
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 synthesizer sounds with much patience.
I was there when Holger Czukay 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 Unrelated Segments to the funk kids.
I played it at the Troubador.
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 DNA. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every The Angels of Light 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 '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Yellowson 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?
The Dead C,
Rapeman,
The Fuzztones,
Rosa Yemen,
Roxy Music,
The Standells,
Alphaville,
Cecil Taylor,
Ajijia Myrayebe,
Franke,
Cameo,
Pharoah Sanders,
Siouxsie and the Banshees,
Kenny Larkin,
The Angels of Light,
Andrew Ashong & Theo Parrish,
The Associates,
Red Lorry Yellow Lorry,
Fear,
Notorious Big And Bone Thugs,
Minnie Riperton,
Mo-Dettes,
X-101,
Lebanon Hanover,
Lafayette Afro Rock Band,
Country Teasers,
Chris & Cosey,
Jacob Miller,
Mark Hollis,
Altered Images,
Sun City Girls,
Colin Newman,
Derrick May,
The Mummies,
Rites of Spring,
Ten City,
The Pretty Things,
Procol Harum,
Arcadia,
Dave Gahan,
Joe Smooth,
Quadrant,
Glenn Branca,
Rotary Connection,
Bad Manners,
Masters at Work,
The Moleskins,
Roxette,
Drive Like Jehu,
JFA,
The Barracudas,
June of 44,
Ornette Coleman,
The Searchers,
New Order,
Notorious BIG live in Amsterdam,
Albert Ayler,
Bill Near,
Electric Prunes,
Sandy B, Sandy B, Sandy B, Sandy B.
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.