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 Belarus and from Edmonton.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Toronto and Milan.
I'm losing my edge to the art-school Salvador 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 snare sounds with much patience.
I was there when Tom Verlaine 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 Kings Of Tomorrow to the jazz kids.
I played it at Cafe Wha.
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 Boredoms. All the underground hits.
All Whodini tracks. I heard you have a vinyl of every Soft Cell record on German import.
I heard that you have a white label of every seminal techno 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 guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Warsaw record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Major Organ And The Adding Machine,
Erasure,
This Heat,
Symarip,
Lalo Schifrin,
Rhythim Is Rhythim,
Rapeman,
Tres Demented,
Fear,
Bang on a Can All-Stars,
The Offenders,
Massinfluence,
Roy Ayers Ubiquity,
Susan Cadogan,
Mandrill,
Bizarre Inc.,
Stockholm Monsters,
Sandy B,
Alton Ellis,
Severed Heads,
Junior Murvin,
Kango’s Stein Massive,
Peter and Kerry,
Roy Ayers,
Man Eating Sloth,
Q and Not U,
Richard Hell and the Voidoids,
Deadbeat,
Von Mondo,
Moby Grape,
Idris Muhammad,
Sunsets and Hearts,
Nation of Ulysses,
Excepter,
Sällskapet,
Ice-T,
a-ha,
The Angels of Light,
Gil Scott-Heron & Brian Jackson,
Radiohead,
Minor Threat,
Donny Hathaway,
Simply Red,
Gang Green,
Agent Orange,
Pagans,
Sugar Minott,
Zero Boys,
The Blackbyrds,
Mission of Burma,
Scientists,
Khruangbin,
Thee Headcoats,
Fort Wilson Riot,
The Dave Clark Five,
Fifty Foot Hose,
Lindisfarne,
the Sonics,
The Seeds,
Kauko Röyhkä ja Narttu,
Rosa Yemen,
Wire,
Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth.
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.