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 Nigeria and from Lille.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Hong Kong and Paris.
I'm losing my edge to the art-school Beijing 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 chamberlin 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 Cure 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 The Music Machine. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every Metal Thangz record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an oboe and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Wally Richardson record.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ossler,
Danielle Patucci,
Donny Hathaway,
Connie Case,
Scratch Acid,
Icehouse,
Nils Olav,
The United States of America,
Bobby Sherman,
The Smoke,
the Sonics,
Laurel Aitken,
Cabaret Voltaire,
Animal Collective,
Scion,
Public Enemy,
The Fire Engines,
Malaria!,
Kerrie Biddell,
Bill Near,
Chris & Cosey,
Fela Kuti,
New Age Steppers,
Technova,
Amon Düül II,
The Young Rascals,
Sad Lovers and Giants,
T. Rex,
The Zeros,
Joensuu 1685,
Steve Hackett,
Sun Ra,
U.S. Maple,
Alphaville,
Harry Pussy,
James Chance & The Contortions,
ABBA,
Adolescents,
Arcadia,
Liaisons Dangereuses,
A Flock of Seagulls,
The Red Krayola,
Flamin' Groovies,
Sex Pistols,
Ultra Naté,
Ajijia Myrayebe,
Tom Boy,
Lungfish,
Roy Ayers,
Ten City,
Con Funk Shun,
Joey Negro,
Harpers Bizarre,
B.T. Express,
Sparks,
Pharaoh Sanders and the Fire Engines,
Bang on a Can All-Stars,
Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio.
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.