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 Venezuela and from Halifax.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Lille.
I'm losing my edge to the art-school Lagos 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 1968 at the first Can practice in a loft in Cologne.
I was working on the rhodes 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 Visage to the dance kids.
I played it at the Hacienda.
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 Germs. All the underground hits.
All Grauzone tracks. I heard you have a vinyl of every Larry & the Blue Notes 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 '80s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
Jesper Dahlbäck,
Nation of Ulysses,
Rakim,
Magazine,
Pagans,
Half Japanese,
Heavy D & The Boyz,
Ice-T,
Ronan,
Susan Cadogan,
Pussy Galore,
Lebanon Hanover,
The Associates,
The Smoke,
Skaos,
Kool Moe Dee,
The United States of America,
H. Thieme,
The Blues Magoos,
Rhythm & Sound,
The Royal Family And The Poor,
Frankie Knuckles,
The Fall,
June of 44,
Roger Hodgson,
The Slits,
Goldenarms,
Teenage Jesus and the Jerks,
Mad Mike,
Alison Limerick,
Yellowson,
Electric Light Orchestra,
Flamin' Groovies,
Scratch Acid,
Aural Exciters,
10cc,
Marshall Jefferson,
Arthur Verocai,
Traffic Nightmare,
Harmonia,
Loose Ends,
Howard Jones,
Model 500,
Rufus Thomas,
The Selecter,
Can,
F. McDonald,
The Litter,
Rahsaan Roland Kirk,
The Fortunes,
Rotary Connection,
Tubeway Army,
Lightning Bolt,
Sexual Harrassment,
Section 25,
Amazonics,
Dual Sessions,
Terror Squad Feat. Camron,
Dead Boys,
The Misunderstood,
Jerry Gold Smith, Jerry Gold Smith, Jerry Gold Smith, Jerry Gold Smith.
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.