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 Syria and from New York.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Toronto and Edmonton.
I'm losing my edge to the art-school Paris 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the rhodes 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 Subhumans to the dance 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 Grandmaster Flash and the Furious Five. All the underground hits.
All the Slits tracks. I heard you have a vinyl of every Albert Ayler 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 '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Wasted Youth record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Lydon,
The J.B.'s,
Main Source,
The Remains,
Arab on Radar,
Thee Headcoats,
Zero Boys,
Teenage Jesus and the Jerks,
Lafayette Afro Rock Band,
Roger Hodgson,
Dead Boys,
Rhythm & Sound,
Selector Dub Narcotic,
Eric B and Rakim,
The Music Machine,
The American Breed,
kango's stein massive,
Echospace,
Agent Orange,
Dark Day,
Los Fastidios,
Heavy D & The Boyz,
Warren Ellis,
A Flock of Seagulls,
Beasts of Bourbon,
Dennis Brown,
Peter and Kerry,
Schoolly D,
Ash Ra Tempel,
Nation of Ulysses,
Pere Ubu,
Minutemen,
Grandmaster Flash,
Wasted Youth,
The Leaves,
Little Man,
cv313,
The Tremeloes,
Bronski Beat,
Model 500,
The Smoke,
Jeff Lynne,
Tim Buckley,
Grauzone,
Letta Mbulu,
Sparks,
Marc Romboy vs. Booka Shade,
Avey Tare & Kría Brekkan,
Cluster,
FM Einheit,
Monks,
Subhumans,
The Associates,
Rekid,
Deutsch Amerikanische Freundschaft,
Sexual Harrassment,
Bobby Hutcherson,
Electric Light Orchestra,
B.T. Express, B.T. Express, B.T. Express, B.T. Express.
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.