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 Kosovo and from Sao Paulo.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Madrid and Lagos.
I'm losing my edge to the art-school Halifax 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 808 sounds with much patience.
I was there when Michael McDonald 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 Eyeless In Gaza to the grime 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 It's A Beautiful Day. All the underground hits.
All Grandmaster Flash tracks. I heard you have a vinyl of every The Residents record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Happenings,
Michelle Simonal,
K-Klass,
EPMD,
Alphaville,
Bang On A Can,
Judy Mowatt,
Yazoo,
The Seeds,
Easy Going,
kango's stein massive,
John Holt,
Camouflage,
The Mojo Men,
MC5,
Delon & Dalcan,
The Fire Engines,
the Germs,
Zero Boys,
The Monochrome Set,
Ronnie Foster,
The Men They Couldn't Hang,
the Slits,
Skaos,
Charles Mingus,
Television,
China Crisis,
Tropical Tobacco,
Eden Ahbez,
The Victims,
Robert Wyatt,
Robert Görl,
June Days,
the Normal,
Q and Not U,
Pulsallama,
The Gladiators,
The Divine Comedy,
Trumans Water,
Jimmy McGriff,
Marmalade,
Electric Light Orchestra,
Strawberry Alarm Clock,
The Trojans,
Juan Atkins,
Rahsaan Roland Kirk,
Barclay James Harvest,
Japan,
Cabaret Voltaire,
Joe Finger,
Neu!,
Aloha Tigers,
Deakin,
Ultra Naté,
Sonny Sharrock,
The Black Dice,
Sunsets and Hearts,
The Smoke,
The Litter,
Howard Jones,
The Vogues,
Deadbeat,
Panda Bear,
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.