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 Spain and from Lyon.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Houston 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 1968 at the first Can practice in a loft in Cologne.
I was working on the chamberlin 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 Matthew Halsall to the punk kids.
I played it at Trash.
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 Amazonics tracks. I heard you have a vinyl of every Richard Hell and the Voidoids record on German import.
I heard that you have a white label of every seminal grime 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 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eve St. Jones,
It's A Beautiful Day,
Stereo Dub,
Niagra,
The Black Dice,
Kaleidoscope,
Fifty Foot Hose,
Fugazi,
Rapeman,
The Red Krayola,
Unwound,
Organ,
The Five Americans,
Sad Lovers and Giants,
Soul II Soul,
Parry Music,
Lonnie Liston Smith,
The Move,
James White and The Blacks,
Bobby Hutcherson,
Altered Images,
Lower 48,
Goldenarms,
Stockholm Monsters,
De La Soul & Jungle Brothers,
Tubeway Army,
Deadbeat,
Babytalk,
the Association,
The Index,
Derrick May,
Duran Duran,
The Mummies,
Masters at Work,
Arcadia,
Joyce Sims,
Bobby Sherman,
Kool Moe Dee,
Tropical Tobacco,
Funky Four + One,
Kauko Röyhkä ja Narttu,
The Misunderstood,
Juan Atkins,
Heavy D & The Boyz,
New York Dolls,
Thee Headcoats,
Angels of Light & Akron/Family,
Quantec,
Arab on Radar,
The Remains,
Reagan Youth,
Darondo,
Sister Nancy,
Ultravox,
D'Angelo,
Pete Rock & C.L. Smooth,
Gichy Dan,
LL Cool J,
Marc Almond,
Brand Nubian,
Dennis Brown, Dennis Brown, Dennis Brown, Dennis Brown.
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.