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 Iceland and from Cairo.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Bologna and Copenhagen.
I'm losing my edge to the art-school Bremen 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 organ 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 The Residents to the jazz 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 Crispian St. Peters. All the underground hits.
All Q and Not U tracks. I heard you have a vinyl of every Babytalk 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 a harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Procol Harum record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The United States of America,
The Seeds,
Fad Gadget,
Negative Approach,
Outsiders,
R.M.O.,
Fugazi,
F. McDonald,
JFA,
Ten City,
Throbbing Gristle,
X-101,
Cecil Taylor,
Maleditus Sound,
John Lydon,
Rakim,
Jesper Dahlbäck,
The Monks,
Magma,
Jesper Dahlback,
The Victims,
Gang Starr,
The Fortunes,
Sunsets and Hearts,
Boredoms,
Pantaleimon,
Ohio Players,
Lebanon Hanover,
OOIOO,
Ludus,
Model 500,
D'Angelo,
Echo & the Bunnymen,
Groovy Waters,
The Real Kids,
Lindisfarne,
Eurythmics,
Manfred Mann's Earth Band,
the Association,
Quantec,
Suicide,
June of 44,
The Evens,
The Remains,
Nico,
Yaz,
Dark Day,
Robert Hood,
Pagans,
Banda Bassotti,
Todd Terry,
Black Pus,
Terror Squad Feat. Camron,
Cabaret Voltaire,
Grandmaster Flash and the Furious Five,
Roger Hodgson,
Peter Gordon & Love of Life Orchestra,
Intrusion,
Popol Vuh,
The Black Dice,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.